BLINDS WIDE SHUT, 2017 Media Facade, Museion Bolzano
Foto: Ottmar Seehauser/Museion
BLINDS WIDE SHUT, 2017 Media Facade, Museion Bolzano
BLINDS WIDE SHUT Media Facade, Museion, Bolzano
Frederick Kiesler´s Film Guild Cinema New York opend in 1929 and was closed and destroyed in 1991. During their stay in New York Krüger & Pardeller managed to locate the place and found an empty excavated space. A simple setting served them as a model to follow the visual quality of Kiesler´s original. Abstract formations are continuously set up and deconstructed triggering a constant re-evaluation of form.
Blinds Wide Shut visualises and translates the usually hidden cinematographic techniques, the opening and closing shutters of the round lens and merges the apparatus of recording, with the apparatus of projecting. The museum turns into a double-bind vision machine looking back at the viewers.
Kick Off: 1st of December during the Long Museums Night 2017
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CD RELEASE Krüger & Pardeller / Daniel Riegler 01.12.2017 ACF New York
HOMO FABER - An Audio Drama in Three Parts by Krüger & Pardeller with a composition by Daniel Riegler
Divergent eras, biographies, artistic fields of action, as well as differing formal and material languages, are placed on a communicative collision course by the artist duo Krüger & Pardeller. In their spatial audio drama HOMO FABER, they juxtapose their own practice with the work of one of the most important Austrian sculptors of the twentieth century, Fritz Wotruba. An ephemeral soundscape by composer Daniel Riegler connects the individual elements of the installation. In the performances by the ensemble Studio Dan, the sonic and contentual aspects of the installation are augmented to create concert music: a striking synthesis of speech, music, and spatial experience.
CD Release 01st of December 2017 at the Austrian Cultural Forum New York
Sätze aus dem Protokoll der Wannsee-Konferenz vom 20. Jänner 1942 belegen die Absichten der Nationalsozialisten bei deren Konzeption zur Verschleppung der europäischen Juden, die letztlich die Vernichtung zum Ziel hatte (Protokollverfasser: Adolf Eichmann). Schon etwas mehr als zwei Monate später wirkten sich die festgeschriebenen Richtlinien des nationalsozialistischen Rassenwahns für vorerst fast die Hälfte der jüdischen Mainzer Bevölkerung fatal aus.
Auch die künstlerische Auseinandersetzung mit dem Unfassbaren des Holocausts und die Ermordung vordefinierter, danach stigmatisierter Minderheiten, nötigen uns zur grundsätzlichen Fragestellung über die Grenzen des Darstellbaren. Symbolische Vereinfachungen, künstlerische Ästhetisierung, Musealisierung, alljährliches rituelles Gedenken können eine kollektive Abwehr von Erinnerung sogar erleichtern. Das wäre gegen den Sinn eines Mahnmals. Unser Projekt versetzt daher mittels Verfremdung der Maßstäblichkeit die Deportationsrampen-Relikte in eine surreale Wahrnehmungswelt, führt die Besucher unmittelbar an die Gedenkwand und nötigt alle Passanten zur Durchschreitung des Mahnmals.
Der derzeitige temporäre Charakter des Standortes, geprägt von einer allseitigen Infrastrukturumgebung schafft keine Identität, ist non-relational und entspricht einem „Nicht-Ort“ im Sinne des französischen Anthropologen Marc Augé. Die suburbane Situation erfordert daher eine kräftige Intervention, die Bild, Stadtraum und Bedeutung des Mahnmals in einem neuen Zusammenhang zum sprechen bringt, die Einsamkeit und Verstörung nicht ausblendet. Unser Entwurf - eine skulpturale, Raum bildende Intervention bezieht sich einerseits auf diese Logik, behauptet gleichzeitig eine künstlerische Autonomie in der Interpretation einer grausamen Thematik. Sowohl der menschliche Körper als auch die Gebäudehöhen der neuen Häuser südlich des Gedenkortes ergaben die Parameter für die Proportionen des Mahnmals.
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CONSTELLATION WORK, 2017
An already existing modular setting by Krüger & Pardeller served as stage and framing for a collaborative process with students. Originally developed for a collaboration with a coach of organisational development, the rehearsal scenario contains flipcharts, pin boards and floor elements that are activated in the framework of prepared »scenes«.
The methodologies that come into being at the intersections of institutional critique and organizational theory are not only related, they share formal solutions. They signify role dispositives and group compositions, and they open a communicative and emotional space for negotiation. The rehearsal appears as a social situation model that allows the practicing of new roles and changing power relations.
Within Krüger & Pardeller’s action field, the students experimented with different constellations involving body, space, and objects. They developed works which were under constant evaluation during the process. The evaluation did not only focus on the works themselves, but principally on their potential to provide new inspiring narrative directions for the group.
»The topos of rehearsal borrowed from theatre and psychodrama serves as a possibility to integrate communication, improvisation, and groupwork into the performative happening.« Based on this, the form of rehearsal offers an ideal mediation-field for the definition of work and authorship: the notions of processuality, fragmentedness, and serialism greatly correspond to the state of the temporary, the unfinished, and the act of starting-from-the-beginning-all-over-again.
The procedure of repetition overcomes the distinction of the creation process and the finished work,2 so that processuality and productivity appear less like antitheses, but more like two mutually necessary sides of a coin, just like teaching and studying became inseparably conjoined in this project.
The result of the one-year-long process is a 30 minute film, which shows the procedure of the rehearsal, moments of negotiation, repetition, and decision-making.
Parallel to the individual works, a common narrative is being developed, which leads to a scenic choreography. The tempo of the film is determined by the rhythm of action and reflection.
