NO.HOT_L is a transdisciplinary artistic intervention series temporarily accomodating in holiday apartments and other transitory living spaces. Performative, installative and collaborative artistic interventions developed on site deal with phantoms and questionable aspects of “travel”, “home” and “work”. Amina Handke as artist and curator uses given space and furniture to create communicative stagings, recombinations and present-tations in the no/wo/man’s land between private and public.
Comparably, definitions of authorship are being expanded, as more artists and art related persons based both on-site and abroad are invited to collaborate and contribute. The ensemble of works, exchange and processes is the declared aim and product: The apartment is the exhibition, the exhibition a film setting, and the film is shown in the apartment. The cast of “artists” and “audience” is overlapping while exchanging informally in the Salon and connecting simultaneously with other places and times via portable devices and the internet wormhole.
Partially related to NO.HOT_L, RESTE INTER PIÈCES is an artistic, ritual disposal of objects. While one piece rests in the present, another (sometimes part of a couple or triple) is disposed of somewhere else.
two screens, synthetic material, mirror, printed paper, lacquer. 2x41x48
The outdated technical feature of “snow” illuminates objects on the screen’s surfaces as burnt-in images that are not digital anymore, mirroring shadows of our media perception. The title – a quote from OTHELLO – refers to ghosts of the (also outdated forms of) theatre: its audience, and to depreciation of animals and life in general.
25DPH is a copy / remake of Chronik der laufenden Ereignisse (1971), a film by Peter Handke, as drawings of single film frames – 129.184 in total. The process of drawing as durational performance as never ending process of copying and archiving the ephemeral.
ARTIST BOOK (edition of 500, 2001) EXHIBITION FORMAT (2000; 2019)
The Handke Collection is an unfinished self portrait consisting of countless objects, memories, remains and works by Amina Handke and other people.
The artist book publication of the Handke Collection assembles texts and reproductions of artistic works, correspondences, photographs, newspaper clippings, video stills and notes which join in a picture story that recounts life and work of the artist, stage designer, ex- tv station co-owner and DJ Amina Handke.
Including texts, fragments, pictures, correspondences and findings by and with Andrea Pesendorfer, Annette Messager, Erich Joham, Max Goldt, Tobias Urban, katsey, Thomas Rottenberg, Hermes Phettberg, Peter Handke, Ruth Ehrmann, Paul Divjak, Wolfgang Kopper, Yves Chaudouet, H. M. Enzensberger, Maria Ziegelböck, Maja Stefanovic and many others.
AAA! (Almost Aged Actionists Anonymous) is an artistic self-help group with the aim of exchanging and developing intervention ideas that can easily be converted into practice by single persons. The interventions and actions deal with realities of women over 40 on the borders of public and private spaces, of legality and with role constructions and clichés.
AAA! was started in the context of the festival Wienwoche in 2018. Actionist ideas and other inspirations from informal meetings have been collected on the AAA!website since then as work-in-process.
Where should all the vinyl records go that DJs and record collectors do not want or need any more? They just auction them at a minimal prize. And because they have something to say about them that is usually unheard, DIE VORSPIELSERVICE is a very entertaining show with mostly unexpected crazy comments, singing along and enthusiastic audience participation.
The Academy Album is an artistic video portrait of the Academy of Fine Arts Vienna highlighting its history and present in fifty-two short episodes. The episodes explore concepts of art, science, and teaching, interpreting them in different ways by pursuing an experimental, informative, absurd and/or documentary line.
A woman is standing alone at the side of the road – is she a hitchhiker, a prostitute, seeking help, fleeing, displaced, lost or deranged? Her looks, anyway, are inconspicuous: apparently local, conventionally dressed, no luggage other than a handbag, aged around 40. She is trying to wave down cars.
Once a car stops she does not get in but tells short excerpts from first-person accounts by women driven into various kinds of dependency through the open window. The texts are based on the film script of “It Happened Just Before” (Anja Salomonowitz, 2006).
In the “Fasching” (carnival) season people disguise and often hide their faces. A custom that allows different interpretations, depending on the point of view. Thus also an occasion to reflect on dress regulations and conventions, on conformity and role models; about what is familiar or strange / exotic, especially concerning the own “cultural background”.
Carinthia (Austria) as my family’s origin region is the setting for an experiment that inconspicuously confuses stigmatizing tendencies in contemporary image production, involving the local photographer Franziska David who usually works for regional media: The woman dressed in black is a stranger adapting to this and that custom and stands out even more by doing so, her veiled face being a concession to seemingly different, contradictory conventions.
In Fermata might be pidgin Italian for “at the stop” or “closed in”. The camera is locked inside a room (“camera”) looking out. There are bars. The inside is invisible, it is excluded, but still enclosed – as opposed to a part of the seemingly wide and free outside. A motif of many films, since the beginning: Are passers-by looking at the camera, the room or the person behind it? Is the camera looking back or is it us? Are the people playing or being authentic – and is there a difference and where? Is a view from a room still the predecessor and inspiration of theatre and cinema, even before there was mobility, car and train rides?
The talk show Wishing Cast, produced in the framework of Pixels, Bytes and Film*, invites professional performers of different origins and disciplines (a dancer, an actress, a comedian, an entertainer, a cabaret artist and a burlesque performer) to a conversation about their dream role. The guests tell tales of super heroes, revenge fantasies, escape adventures, war histories and boat taxis. Of sex, violence, humour, self-determination, authenticity, manipulation and a happy life. Wishing Cast develops into a polyphonic tale about role perceptions and life goals. The borders between reality, desire and fiction blur, perhaps they never even existed. Just as the format Wishing Cast itself.
*cooperation of the TV Station ORFIII, the Austrian Federal Chancellery and the Academy of Fine Arts Vienna
I asked my mother – an actress – to reenact her mother who I barely knew. But she remembers very little.
Mother of Mother recounts of scrappy memories and brittle family relationships of three generations, marked by absences and separations. Also by the effects of a war or – more generally – the influence of ideologies and conventions on conceptions of women’s and mothers’ roles, and how these are being passed on and reflected. Daily life thus coined is so unspectactular that it is perceived as normality.
Quotenpublikum is a series of 13 Portraits: 16 renowned Austrian experts with different professional relations to media culture are portrayed watching TV. They represent a subjectively selected, diverse cross section of a professional audience and seemingly impersonate the abstract notion of the “Quote” (German term for audience rating), whose representativity and elicitation methods are addressed and questioned.
The production of Quotenpublikum was funded and first broadcast by Austrian public television ORFIII in 2014.