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Vorherige Abschlussarbeit nicht möglich (Anfang erreicht)
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Institut für bildende Kunst
Bildende Kunst; Studienzweig Bildende Kunst
Betreuung: Zobernig, Heimo
To a certain degree sacredness is in the eye of the beholder | Act IV,
2015
Abschlussjahr: 2015
1. “To a certain degree sacredness is in the eye of the beholder” is an on-going work that takes as its point of departure two journeys.
2. In July 1933, a cruise sponsored by CIAM leaves Marseilles, its final destination being the congress site in Athens, Greece. Aboard the ship are main representatives of the Modern Movement, among them the architect Le Corbusier. He recounts: “In the summer of 1933 we launched ourselves into the ancient waters of the Mediterranean, like Ulysses on his Odyssey.”
3. Thirty-six years later, in 1969, Pasolini reenacts another journey, that of Euripide’s Medea, played by Maria Callas. Medea departs from a mythical, primitive world of cyclical time to the rational society of Greece. After her arrival to Corinth she states: “I still am who I was: a vessel bearing experience not mine.”
4. The two journeys are synthesized by the artist as palindromic movements, from the West to the East and vice versa. In their intersection, a site is formulated; a space in which scenarios and shifting perspectives concerned with European imaginaries and their relation to a mythicized past are re-examined.
5. Using the script as a “building material” the artist has produced a series of objects that trace back upon these narratives, in an attempt to retrieve their current undertone. The works are accompanied by collaborative texts, excerpts of historical material and sound performances by invited musicians. The elements above are re-articulated in subsequent versions or acts.
6. Act IV is condensed into four conceptual elements – Modulor, Centaur, Material M and Cast – whose presence transforms space into a static mise en scène.
7. Modulor and Centaur – appearing in Le Corbusier’s and Pasolini’s oeuvre respectively – refer back to the embodiment of two different modes of perception: the rational and the mystical. Modulor’s anthropocentric idealism is “deformed” by its adaptation to the artist’s body proportions. Centaur is conceived in relation to the measurements of the Golden (also known as Divine) Section.
8. Material M and Cast appear in Act IV as objects whose unfolding in space is grounded on the notion of a repetitive act. The pattern of the Material M textile, a recurring motif in the project, is created through the reproduction of the typeface from the 1969 Medea film release poster. Cast revisits the notion of the vessel as a container of substance as well as concepts.
9. The objects, actualized as an interplay between line, volume and surface, produce through their materiality and staging a series of spatial and contextual occupations. In Act IV they serve an intrinsic role as latent presences; silent guides suggesting an underlying cultural ambivalence.
2. In July 1933, a cruise sponsored by CIAM leaves Marseilles, its final destination being the congress site in Athens, Greece. Aboard the ship are main representatives of the Modern Movement, among them the architect Le Corbusier. He recounts: “In the summer of 1933 we launched ourselves into the ancient waters of the Mediterranean, like Ulysses on his Odyssey.”
3. Thirty-six years later, in 1969, Pasolini reenacts another journey, that of Euripide’s Medea, played by Maria Callas. Medea departs from a mythical, primitive world of cyclical time to the rational society of Greece. After her arrival to Corinth she states: “I still am who I was: a vessel bearing experience not mine.”
4. The two journeys are synthesized by the artist as palindromic movements, from the West to the East and vice versa. In their intersection, a site is formulated; a space in which scenarios and shifting perspectives concerned with European imaginaries and their relation to a mythicized past are re-examined.
5. Using the script as a “building material” the artist has produced a series of objects that trace back upon these narratives, in an attempt to retrieve their current undertone. The works are accompanied by collaborative texts, excerpts of historical material and sound performances by invited musicians. The elements above are re-articulated in subsequent versions or acts.
6. Act IV is condensed into four conceptual elements – Modulor, Centaur, Material M and Cast – whose presence transforms space into a static mise en scène.
7. Modulor and Centaur – appearing in Le Corbusier’s and Pasolini’s oeuvre respectively – refer back to the embodiment of two different modes of perception: the rational and the mystical. Modulor’s anthropocentric idealism is “deformed” by its adaptation to the artist’s body proportions. Centaur is conceived in relation to the measurements of the Golden (also known as Divine) Section.
8. Material M and Cast appear in Act IV as objects whose unfolding in space is grounded on the notion of a repetitive act. The pattern of the Material M textile, a recurring motif in the project, is created through the reproduction of the typeface from the 1969 Medea film release poster. Cast revisits the notion of the vessel as a container of substance as well as concepts.
9. The objects, actualized as an interplay between line, volume and surface, produce through their materiality and staging a series of spatial and contextual occupations. In Act IV they serve an intrinsic role as latent presences; silent guides suggesting an underlying cultural ambivalence.
Dank an Simone Bader, Sabeth Buchmann, Thomas Kersten, Bartholomeus Kinner, Roland Kollnitz und Heimo Zobernig.
www.stefaniastrouza.com
www.stefaniastrouza.com