About
Natalia Gurova is an artist born in Belarus, raised in Russia and based in Vienna. She did a journalism degree in Moscow and worked for different media including newspapers, radio, online and TV. Her artwork at the moment focuses on the objects and structures that trigger change in human behavior. Natalia focuses on materiality, objects and installation.
Education
Exhibitions
2020
- 2018 — n/a Academy of fine Arts, Vienna, Object Sculpture, professor Julian Goethe
- 2014 — 2018 University of Applied Arts, Vienna, Site-specific Art, professor Paul Petritsch
- 2003 — 2009 MA-equivalent in Journalism, Moscow State University
Exhibitions
2020
- Casino, VIENNA ART WEEK 2020, at Red Carpet Showroom Altes Landgut, Presented by Marcello Farabegoli Projects, 16 November – 30 November, Vienna — Kubaparis feature.
- Mountains painted by cats, together with Arnold Berger, Tsai-Ju Wu, Kristina Cyan, Ivana Lazic, Yu Isogawa, Olga Shapovalova, Rosie Benn, Edo; Atelier Moos, 16 October – 25 October, Vienna
- SALON REAL / VIRTUAL - 2# Salon: Natalia Gurova | Triggered silhouettes (solo), Galerie michaela stock, 08 October – 04 November, Vienna
- PARALLEL VIENNA 2020, 22 - 27 September, 4.13 room, section project statements with Natalia Gurova, Paula Flores, and Hana Usui, presented by Marcello Farabegoli projects
- QM&A Group exhibition 2020 (I), the Dessous, 17 - 22 September, Vienna
- Red carpet showroom (Karlsplatz), QM&A group show, 2 - 30 July, Vienna
- New normal, digital group show, May - June, Vienna
- LNR Exhibition. Ausbruch, 21-29 May, curated by Laura Stöckler, Daniel Lichterwaldt, and Katharina Herzog, Improper Walls, Vienna
- Kvartirnik, together with Siggi Sekira, Anna Bochkova, Danielle Pamp, Daniela Grabosch, 10хх, Vienna
- A little yellower than snow, a little brighter than old curtains, (solo), hoast, Vienna
- Wild romance, Rundgang 2020, Academy of Fine Arts, Vienna
- "die weisse ab-haus-verkaufs-kunstschau" #06, das Weisse Haus, Vienna
- Suggested Life, (solo), Kunstraum Delikatessenhaus — Panorama view, Leipzig
- Meet the Universe, Aula der Wissenschaften, Vienna
- Exhibit on Resources, public art project in 3 spots in Vienna
- Birth and Decay, Aquarium, Academy of Fine Arts, Vienna
- Without form, without subject, without face, Kaeschmaesch, Ennsgasse 20, Vienna
- Rundgang 2019, Academy of Fine Arts, Kurzbauergasse 9, Vienna
- How about a Ménage à trois ? Visuality, installation, Studio H is the Shit, Munich
- The Essence, Annual exhibition of students from University of Applied Arts of Vienna, VZA3, Vienna
- Alles OK, video installation, sculpture and silkscreen, Paulusplatz 5, Vienna
- Repetition is a form of change, spatial installation, Paulusplatz 5, Vienna
- Studio Frankenstein, Kunstradio, FM4, Vienna, Austria
- "Clitical Talk", "The seesaw", sculpture, Improper Walls, gallery, Vienna
2017
2016
2015
- "150 Years Angewandte", video, MAK (Museum of Applied arts), Vienna
- "Game Circuit", installation, das Weisse Haus, "Circuit Training", Hegelgasse 14
- "Seize or Invoke", spatial installation, Paulusplatz 5, Vienna
2016
- Dome entered the house, display for the Round Table "Propulsion: On Changing Futures", Paulusplatz 5, Site-specific Art department at the University of Applied Arts, Vienna
- Essence 2016, "Stille Post", sound installation, Alte Post, Vienna
- J' A R R I V E, "I'm a mushroom too", sculptures, Kunstraum SUPER, Vienna
2015
- "Pflanzenspaziergang – Flower's walk", performance, drawings, Palme 13, Vienna
- "Zoning", performance, Fluc, Vienna
Works
CASINO
Sculpture, 2020
Mixed media, 180*250 cm
For her special project presented by Marcello Farabegoli at Vienna Art Week 2020, Natalia Gurova created a site-specific installation for the Red Carpet showroom Altes Landgut (Old Manor), which is situated in the U1 subway station with the same name. Gurova is a native of Belarus and studied journalism in Moscow, where she was active before moving to Vienna in 2014. She worked for BBC and wrote about social and political topics, human rights, literature and the arts. Her artistic practice consists of creating objects which trigger certain behavior patterns in visitors and make them aware of social processes.
With regard to Vienna Art Week's motto "Living Rituals," Gurova did research on the site where the subway station has been since 2017. She analyzed the history of the place and the rituals that were performed at certain times. Originally a factory and brick building complex, the edifice was taken down in the 1830s in order to build a new location functioning as a casino, which was in line with other luxurious Viennese institutions such as the Tivoli in Meidling or Dommayer's Casino in Hietzing. Today, only the name of the subway station reminds of the former establishment. Relating to forms of pastime, which going to a casino entails, the artist addresses the notion of boredom, a phenomenon which manifested itself differently over the centuries, especially among upper classes.
Gurova's installation tries to tackle a history of different forms of boredom, such as spleen, melancholia or the black humor (l'humeur noire), which Louis XIV exerted when letting only certain counts sit down at dinner parties, while others had to endure a standing reception that made them get bored after a while. At the same time, excessive tea parties became a spleen that created drug-like exuberance in 17th century England. The Russian version of melancholia can be found in the 1859 novel Oblomov, in which a nobleman experiences fatigue and has to find techniques such as his daily afternoon nap to come to terms with an abundance of time. A non-conformist, he even denied social gatherings and preferred idling around the whole day.
Stemming from these historical observations, the artist's research moved to Austria and Germany, where casinos became a new way to cope with existential boredom in the 19th century. Their architectural structure followed that of a circle, which was mirrored by the roulette tables—seemingly functioning in an endless loop to create moving circles and foster the progression of time. Gurova's installation mimics the looping effect of the roulette table yet demonstrates in a vertical form an endless circle or continuous flow of time. The circular shape of the sculpture has differently inserted levels or racks, where objects are placed, questioning whether notions of boredom have changed over the centuries and which new forms have evolved to protract time. Today, the phenomenon of public transport represented by the subway station equally leads to moments of dullness. Moreover, with the different lockdowns that have been imposed over the past months, the repetitive moments of daily routine didn't allow for much diversification and created new forms of boredom nobody would have anticipated. Gurova thus links the site and its historical implications with current moments of artistic thought and invites passers-by to linger and contemplate.
Walter Seidl
Mixed media, 180*250 cm
For her special project presented by Marcello Farabegoli at Vienna Art Week 2020, Natalia Gurova created a site-specific installation for the Red Carpet showroom Altes Landgut (Old Manor), which is situated in the U1 subway station with the same name. Gurova is a native of Belarus and studied journalism in Moscow, where she was active before moving to Vienna in 2014. She worked for BBC and wrote about social and political topics, human rights, literature and the arts. Her artistic practice consists of creating objects which trigger certain behavior patterns in visitors and make them aware of social processes.
With regard to Vienna Art Week's motto "Living Rituals," Gurova did research on the site where the subway station has been since 2017. She analyzed the history of the place and the rituals that were performed at certain times. Originally a factory and brick building complex, the edifice was taken down in the 1830s in order to build a new location functioning as a casino, which was in line with other luxurious Viennese institutions such as the Tivoli in Meidling or Dommayer's Casino in Hietzing. Today, only the name of the subway station reminds of the former establishment. Relating to forms of pastime, which going to a casino entails, the artist addresses the notion of boredom, a phenomenon which manifested itself differently over the centuries, especially among upper classes.
Gurova's installation tries to tackle a history of different forms of boredom, such as spleen, melancholia or the black humor (l'humeur noire), which Louis XIV exerted when letting only certain counts sit down at dinner parties, while others had to endure a standing reception that made them get bored after a while. At the same time, excessive tea parties became a spleen that created drug-like exuberance in 17th century England. The Russian version of melancholia can be found in the 1859 novel Oblomov, in which a nobleman experiences fatigue and has to find techniques such as his daily afternoon nap to come to terms with an abundance of time. A non-conformist, he even denied social gatherings and preferred idling around the whole day.
Stemming from these historical observations, the artist's research moved to Austria and Germany, where casinos became a new way to cope with existential boredom in the 19th century. Their architectural structure followed that of a circle, which was mirrored by the roulette tables—seemingly functioning in an endless loop to create moving circles and foster the progression of time. Gurova's installation mimics the looping effect of the roulette table yet demonstrates in a vertical form an endless circle or continuous flow of time. The circular shape of the sculpture has differently inserted levels or racks, where objects are placed, questioning whether notions of boredom have changed over the centuries and which new forms have evolved to protract time. Today, the phenomenon of public transport represented by the subway station equally leads to moments of dullness. Moreover, with the different lockdowns that have been imposed over the past months, the repetitive moments of daily routine didn't allow for much diversification and created new forms of boredom nobody would have anticipated. Gurova thus links the site and its historical implications with current moments of artistic thought and invites passers-by to linger and contemplate.
Walter Seidl
Urticina eques reflex - pet me not come back tomorrow
Sculpture, 2020
Silicone, metal, 250 cm x 70 cm
Silicone is often used in filmmaking to create masks that resemble human skin. Questioning the topic of touch regarding conscious and unconscious touch nora aaron scherer and Natalia Gurova used silicone to create a sculpture with a surface that looks like it wants to be touched - a colourful candy-like invitation. At the same time, there is something alienating to it. They are using this moment of confusion to rethink ways of safe touching. Framed by a metal container the sculpture allows a change of perspective and connection if you stand in front of each other divided by the see-through silicone skin.
Silicone, metal, 250 cm x 70 cm
Silicone is often used in filmmaking to create masks that resemble human skin. Questioning the topic of touch regarding conscious and unconscious touch nora aaron scherer and Natalia Gurova used silicone to create a sculpture with a surface that looks like it wants to be touched - a colourful candy-like invitation. At the same time, there is something alienating to it. They are using this moment of confusion to rethink ways of safe touching. Framed by a metal container the sculpture allows a change of perspective and connection if you stand in front of each other divided by the see-through silicone skin.
Cellar of cells
Sculptures, 2019
Mixed media, 30*50 cm
Mixed media, 30*50 cm
Second skin
Sculpture, 2019
Mixed media, 100*70 cm
Mixed media, 100*70 cm
Silhouettes of love
Sculpture, 2019
Metal, 55*55 cm
Metal, 55*55 cm
Material-isable
Sculpture, installation, 2019
Mixed media, 40*110 cm
The subject of time and space could be considered in terms of visual changes. Nothing is eternal or static. The space is so unique. It is reminiscent of the temple of science. Walls couldn't be touched, and nothing can be changed. It has to stay as it is. Everything is gigantic and microscopic that couldn't be embraced by common sense. Sciences have a high level of abstraction. People trust numbers. Numbers are unseen and untouched. Things in itself. Numbers and signs could measure a lot of events and entities. Emotions and thoughts, feelings were inspected and dissect as well, but it's hard to create an equal measuring instrument for them. Everything is about the matter and looking for the matter. Nothing and everything. Secrets of the universe and our origin are still not dissected and hardly materialised. To create a frozen in time alien is a very abstract thing. But to make a representation of it is possibly materializable. Life will touch and change it soon.
Mixed media, 40*110 cm
The subject of time and space could be considered in terms of visual changes. Nothing is eternal or static. The space is so unique. It is reminiscent of the temple of science. Walls couldn't be touched, and nothing can be changed. It has to stay as it is. Everything is gigantic and microscopic that couldn't be embraced by common sense. Sciences have a high level of abstraction. People trust numbers. Numbers are unseen and untouched. Things in itself. Numbers and signs could measure a lot of events and entities. Emotions and thoughts, feelings were inspected and dissect as well, but it's hard to create an equal measuring instrument for them. Everything is about the matter and looking for the matter. Nothing and everything. Secrets of the universe and our origin are still not dissected and hardly materialised. To create a frozen in time alien is a very abstract thing. But to make a representation of it is possibly materializable. Life will touch and change it soon.
Gjjjjhghjdjjghhhoooo
Sculpture, installation, 2019
Mixed media, 60*140 cm
Photosynthesis is the most uncomplicated process of energy transformation and an example of light-dependent reactions. The life of a flower is a cycle of consuming, transforming, growing and dying.
The project involves modelling an existing form, inspired by the cycle of birth and decay, resulting in an object with an ambiguous origin. An aim was to render organic form through an urban-utopian prism and to investigate the mutation of natural and machine-like form.
Inspiration:
The flowers of evil is a book by Charles Baudelaire. It includes notions like Spleen, decadence, the term of beauty, the motif of disgrace and decay. For Baudelaire, it becomes a kind of gestural language, a poetic medium. The notion of grace for him is neither presentation nor representation, but something like an artificial alternative to birth.
Baudelaire says nature is a system of perpetual analogies in which one thing always corresponds to another — physical objects to each other (colonnades in a temple, for example, to trees in the forest).
The cycle of decay:
Flowers do not age honestly like leaves, which lose nothing of their beauty, even after they have died. (G. Bataille, Visions of Excess). Flowers wither, and they die on stems that seemed to carry them to the clouds.
Photo credits: Maria Sizikova
Mixed media, 60*140 cm
Photosynthesis is the most uncomplicated process of energy transformation and an example of light-dependent reactions. The life of a flower is a cycle of consuming, transforming, growing and dying.
The project involves modelling an existing form, inspired by the cycle of birth and decay, resulting in an object with an ambiguous origin. An aim was to render organic form through an urban-utopian prism and to investigate the mutation of natural and machine-like form.
Inspiration:
The flowers of evil is a book by Charles Baudelaire. It includes notions like Spleen, decadence, the term of beauty, the motif of disgrace and decay. For Baudelaire, it becomes a kind of gestural language, a poetic medium. The notion of grace for him is neither presentation nor representation, but something like an artificial alternative to birth.
Baudelaire says nature is a system of perpetual analogies in which one thing always corresponds to another — physical objects to each other (colonnades in a temple, for example, to trees in the forest).
The cycle of decay:
Flowers do not age honestly like leaves, which lose nothing of their beauty, even after they have died. (G. Bataille, Visions of Excess). Flowers wither, and they die on stems that seemed to carry them to the clouds.
Photo credits: Maria Sizikova
Шорох и шум / Rustle and noise
Silkscreen, 2018
Silkscreen 70*200 cm
ШIn one second, 100 thousand chemical reactions occur in the human brain, 63 thousand search queries are processed by Google, 55 000 likes are clicked on in Facebook, 20 million people get distracted by incoming messages, орохlightning hits the ground 100 times, 9000 computer power adapter failures occur every second.
Facts create an image. иFacts are to be defined and recorded. But when to do it exactly – when they are happening or have already happened? It is difficult to grasp what preceded the emergence of facts. Howшумmany neural reactions should must occur in order to write one e-mail or do a Google search?
This work is about rustle and noise. Хорошшуметь How do they differ?
Noise is ubiquitous and uncontrollable. There is also rustle. It always penetrates where it is needed. Noise and rustle are not in шорохорошумopposition to each other, rather a union or separation. This is a work about noise and rustle. Rustle is a dull sound. It is friction resulting from a gentle contact with the surfaceишшшш.
Silkscreen 70*200 cm
ШIn one second, 100 thousand chemical reactions occur in the human brain, 63 thousand search queries are processed by Google, 55 000 likes are clicked on in Facebook, 20 million people get distracted by incoming messages, орохlightning hits the ground 100 times, 9000 computer power adapter failures occur every second.
Facts create an image. иFacts are to be defined and recorded. But when to do it exactly – when they are happening or have already happened? It is difficult to grasp what preceded the emergence of facts. Howшумmany neural reactions should must occur in order to write one e-mail or do a Google search?
This work is about rustle and noise. Хорошшуметь How do they differ?
Noise is ubiquitous and uncontrollable. There is also rustle. It always penetrates where it is needed. Noise and rustle are not in шорохорошумopposition to each other, rather a union or separation. This is a work about noise and rustle. Rustle is a dull sound. It is friction resulting from a gentle contact with the surfaceишшшш.
Prints
Linocuts, etching, silkscreens
2018
2018
Your turn
Installation, 2018
Silkscreen print and metal stick,
A3, 160 cm
The print shows words and phrases we normally say to each other when we are upset, irritated, when our feelings are hurt or when we want to shift responsibility on someone else. The positioning of the words resembles a board game in which one can go from one square to another. However, the game has neither the beginning nor end, there is not happy resolution but is a left with the feeling of the absurd.
Silkscreen print and metal stick,
A3, 160 cm
The print shows words and phrases we normally say to each other when we are upset, irritated, when our feelings are hurt or when we want to shift responsibility on someone else. The positioning of the words resembles a board game in which one can go from one square to another. However, the game has neither the beginning nor end, there is not happy resolution but is a left with the feeling of the absurd.
Repetition is a form of change
Spatial installation, 15 pieces, from 20 to 40 cm, plaster, cardboard, 2018
Each sculpture consists of two parts: a cardboard box and a white plaster cast. The cast is of the cardboard box and represents emptiness, the void locked in a geometric form.
Each sculpture consists of two parts: a cardboard box and a white plaster cast. The cast is of the cardboard box and represents emptiness, the void locked in a geometric form.
Project Studio Frankenstein
Studio Frankenstein
Radio performance, 2018
von Studierenden der Universität für angewandte Kunst Wien: Rosie Benn, Jasjote Grewal, Lukas Gritzner, Natalia Gurova, Daniel Hüttler, Ekaterina Kostova, Monica LoCascio, Eirik Melstrøm, Benjamin Nelson, Pia Plankensteiner, Irene Reichart, Raphael Reichl, Andrea Resner, CarMiña Tarilonte Ro.
Konzept und Produktion im Rahmen der Lehrveranstaltung von Ralo Mayer an der Abteilung Ortsbezogene Kunst.
Listen on Soundcloud →
Photo credits: Andrea Resner
Radio performance, 2018
von Studierenden der Universität für angewandte Kunst Wien: Rosie Benn, Jasjote Grewal, Lukas Gritzner, Natalia Gurova, Daniel Hüttler, Ekaterina Kostova, Monica LoCascio, Eirik Melstrøm, Benjamin Nelson, Pia Plankensteiner, Irene Reichart, Raphael Reichl, Andrea Resner, CarMiña Tarilonte Ro.
Konzept und Produktion im Rahmen der Lehrveranstaltung von Ralo Mayer an der Abteilung Ortsbezogene Kunst.
Listen on Soundcloud →
Photo credits: Andrea Resner
The Seesaw / Die Wippe
Sculpture, 3 m*50 cm, wood, metal, color, 2017
How to use:
How to use:
- Sit alone, sit together, sit a group
- Use swings for measuring narcissism
- Imagine childhood and think of the uncanny
- Forget about the playground
- Set up swings in front of your house, on the square, at the bus stop, near the Parliament building, at a party
- Use them as a tool for co-dependence fun
- Try to reach the highest point and speed
- Think about Dr Frankenstein and his creation
- Try to embrace the now
- Try again
Ortsbezogene Kunst
Video HD, 1.50 min.
For the Ästhetik der Veränderung – 150 Jahre Universität für angewandte Kunst Wien, MAK (Museum of Applied Arts), 2017.
Video was made for Site-Specific Art department at the University of Applied Arts, Vienna
Video →
Together with: Anastassiya Kurinova
For the Ästhetik der Veränderung – 150 Jahre Universität für angewandte Kunst Wien, MAK (Museum of Applied Arts), 2017.
Video was made for Site-Specific Art department at the University of Applied Arts, Vienna
Video →
Together with: Anastassiya Kurinova
Circuit Game
Das Weisse Haus, Vienna, 2017
Sculpture and board game at the same time
135*85 mdf table, 2 m metal hanger, 3 helmets, micro computers, objects given by scientists, LHC map, loudspeakers. Coding and cabling: Anastassyia Kurinova
This project grew out of a student trip to the Large Hadron Collider in Geneva. During the visit, the students conversed with scientists, visited various parts of CERN, explored the workshops where parts for measuring instruments are made. They also descended below the ground to see the world's largest computer – a huge machine created to help discover the small particles that the Universe consist of. The work that stemmed from this trip is an interactive board game, assembled from objects donated by CERN scientists as well as found at CERN, symbolically and practically connected with the scientists' lives. The playing field is a scheme of the Collider. Game zones represent life sphere's of an average scientist who is trying to find a solution to the origin of life, and also is dreaming about receiving the Nobel Prize. To create this work, the artist conducted several interviews with various CERN scientists. Each part of the playing field contains a button on which one can click and listen to an excerpt from these interviews. Scientists talk not only about particle physics, but also about the ups and downs of their career, personal life, fears and hopes.
Video documentation →
Photo credits: Peter Kainz, Natalia Gurova
Sculpture and board game at the same time
135*85 mdf table, 2 m metal hanger, 3 helmets, micro computers, objects given by scientists, LHC map, loudspeakers. Coding and cabling: Anastassyia Kurinova
This project grew out of a student trip to the Large Hadron Collider in Geneva. During the visit, the students conversed with scientists, visited various parts of CERN, explored the workshops where parts for measuring instruments are made. They also descended below the ground to see the world's largest computer – a huge machine created to help discover the small particles that the Universe consist of. The work that stemmed from this trip is an interactive board game, assembled from objects donated by CERN scientists as well as found at CERN, symbolically and practically connected with the scientists' lives. The playing field is a scheme of the Collider. Game zones represent life sphere's of an average scientist who is trying to find a solution to the origin of life, and also is dreaming about receiving the Nobel Prize. To create this work, the artist conducted several interviews with various CERN scientists. Each part of the playing field contains a button on which one can click and listen to an excerpt from these interviews. Scientists talk not only about particle physics, but also about the ups and downs of their career, personal life, fears and hopes.
Video documentation →
Photo credits: Peter Kainz, Natalia Gurova
Seize or Invoke
Spatial installation, Paulusplatz 5, Ortsbezogene Kunst department, University of Applied Arts, Vienna. 2017
Red walls, set of light, newspaper collage, bench.
This work is the result of a reflection about the eerie, undetected gaze and the hidden. The work began with a series of black and white analogue shots Vienna streetscapes, which often seem deserted, uninviting and hiding something. Many places and areas in Vienna look very calm and respectable, although it is likely that many of them witnessed acts of crime and violence. In almost every residential area, something of the sort has happened as some point, possibly in every home. Banal crimes motivated by jealousy or alcohol addiction.
The artist wanted to reconstruct and re-imagine the fact of a crime that happened next to the gallery where the work was exhibited. The crime was reported by the tabloid Heute. The artist altered the typical page of this newspaper so that the viewer could draw a parallel between the crime scene and the exhibition site. To create the right atmosphere, the artist stole a bench from the street where the crime occurred, and transferred it to the gallery. The bench was deliberately damaged slightly - only by going around it one could notice the cuts. Although the bench was still usable however the intuitive desire to sit on it was lessened. The same bench is shown on the front of page of Heute.
The installation aims to confuse and makes you want to solve a riddle or become part of this puzzle. You can solve it only by comparing, matching and mentally copying the elements of the installation.
Red walls, set of light, newspaper collage, bench.
This work is the result of a reflection about the eerie, undetected gaze and the hidden. The work began with a series of black and white analogue shots Vienna streetscapes, which often seem deserted, uninviting and hiding something. Many places and areas in Vienna look very calm and respectable, although it is likely that many of them witnessed acts of crime and violence. In almost every residential area, something of the sort has happened as some point, possibly in every home. Banal crimes motivated by jealousy or alcohol addiction.
The artist wanted to reconstruct and re-imagine the fact of a crime that happened next to the gallery where the work was exhibited. The crime was reported by the tabloid Heute. The artist altered the typical page of this newspaper so that the viewer could draw a parallel between the crime scene and the exhibition site. To create the right atmosphere, the artist stole a bench from the street where the crime occurred, and transferred it to the gallery. The bench was deliberately damaged slightly - only by going around it one could notice the cuts. Although the bench was still usable however the intuitive desire to sit on it was lessened. The same bench is shown on the front of page of Heute.
The installation aims to confuse and makes you want to solve a riddle or become part of this puzzle. You can solve it only by comparing, matching and mentally copying the elements of the installation.
Dome entered the house
Presentation of the conference "Propulsion on changing Futures" setting built by students, 2016.
Together with Ralo Mayer, Benedikt Meixl, Nicolaus Fuchs, Roland Plachy, Mina Tarilonte.
Cardboard rolls, cable connectors, fabric.
Together with Ralo Mayer, Benedikt Meixl, Nicolaus Fuchs, Roland Plachy, Mina Tarilonte.
Cardboard rolls, cable connectors, fabric.
I'm a mushroom too
Video HD, 12 min, preserved artist's conk mushroom, a-crystall copy from artist's conk mushroom 33*21 cm.
2016
Video is the result of a 2-year communication with a mycologist Gerhard Koller, who has studied mushrooms for more than 20 years. The camera follows Koller and the artist on their walk in the forest in Burgenland (Austria). The scientists point to different types of mushrooms and talks about theirs features and characteristics . An Artist Conk mushroom (Ganoderma applanatum) was also found during one of the excursions with Gerhard. The artist preserved the mushroom, and later created a gypsum copy from it. Subsequently she took it to another 'mushroom' walk. In the video both versions of the mushroom are present – the real one and its copy.
Video →
Password: slat
2016
Video is the result of a 2-year communication with a mycologist Gerhard Koller, who has studied mushrooms for more than 20 years. The camera follows Koller and the artist on their walk in the forest in Burgenland (Austria). The scientists point to different types of mushrooms and talks about theirs features and characteristics . An Artist Conk mushroom (Ganoderma applanatum) was also found during one of the excursions with Gerhard. The artist preserved the mushroom, and later created a gypsum copy from it. Subsequently she took it to another 'mushroom' walk. In the video both versions of the mushroom are present – the real one and its copy.
Video →
Password: slat
Pflanzenspaziergang
Performance, drawings and presentation in cooperation with Sabine Fessler.
Schwendermarkt, 2015.
The artists wanted to connect two points on a city map: a small cafe Palme 13 and the people who live in the 15th district of Vienna. To do this, they made a cart and ventured out to get acquainted with their neighbours. The artists called at random apartments and asked residents to borrow pot flowers for several hours in order to walk around the area with them, bring them to a cafe and make sketches of the plants. Also, the artists made a small questionnaire for the residents of the area, which helped to understand the history of relations between people and their pot plants. What is the name of the flower? How old is it? How did it end up in the house? For two months, the artist sketched several dozen pot plants. Finally they held a presentation of the project in the cafe Palme 13, which was attended by local residents and those who had lent their flowers.
Schwendermarkt, 2015.
The artists wanted to connect two points on a city map: a small cafe Palme 13 and the people who live in the 15th district of Vienna. To do this, they made a cart and ventured out to get acquainted with their neighbours. The artists called at random apartments and asked residents to borrow pot flowers for several hours in order to walk around the area with them, bring them to a cafe and make sketches of the plants. Also, the artists made a small questionnaire for the residents of the area, which helped to understand the history of relations between people and their pot plants. What is the name of the flower? How old is it? How did it end up in the house? For two months, the artist sketched several dozen pot plants. Finally they held a presentation of the project in the cafe Palme 13, which was attended by local residents and those who had lent their flowers.
Zoning
Performance, Prater, Kaiser-Wiese, 2015.
The artist had a 70-meter rope which she used as a performance tool. She walked through a park with the rope and wrapped objects in her way with it. Passers-by also joined in the performance and contributed to the artwork.
The artist had a 70-meter rope which she used as a performance tool. She walked through a park with the rope and wrapped objects in her way with it. Passers-by also joined in the performance and contributed to the artwork.
HMS Bounty
Postcards for market place, poster.
In cooperation with Katharina Koerner, Christina Gruber, 2015.
Market kiosk "Palme 13" at Schwendermarkt, Vienna ran by students for one week.
In cooperation with Katharina Koerner, Christina Gruber, 2015.
Market kiosk "Palme 13" at Schwendermarkt, Vienna ran by students for one week.
