ARTISTBOOK (edition of 500, 2001) EXHIBITIONFORMAT (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.
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 cars stops she does not get in but rather tells short excerpts from first-person accounts by women driven into various kinds of dependency through the opened window. The texts are based on the film script of “It Happened Just Before” (Anja Salomonowitz, 2006).
Performance, 22 photographic prints (40x60 cm), additional material (overall sizes variable)
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.
A selection of emotional facebook statuses about serious matters is recited by other persons than the authors and recorded with mobile telephone or computer microphone, in a quality matching the medium. The video material is composed of allegedly sensational (instead of informative) recordings that correspond only in part to the topics on the sound track. Their selection is intentionallly determined by obscurity and unassignability.
The title of this exhibition quotes the film Copie Conforme by Abbas Kiarostami, in which an art expert plays the leading female role. Copying, imitation and referencing are not just the basis of artistic production but also of all cultural systems. Against the background of timeless and current discourses on copyright and the freedom of art, this exhibition project seeks to offer an insight into contemporary artistic positions that link methods of creative appropriation or referentiality with sociopolitical statements or explicitly to use them as instruments.
Seven channel video installation (HD, colour, sound)
Nine persons – partly performers, partly beggars in real life – portray beggars, themselves or themselves as beggars. The definitions of professional portrayal and authentic situations blur facing the impossibility of recognizing “real” adversity by observation. How must beggars – comparable to the demands of other working environments, not just in performing arts – portray poverty in order to fulfill the expectations attached to their role? Is the authenticity of the portrayal more relevant than the authenticity of the adversity?
Restrictive dealing with beggars and poverty determines public discussions in the media and politics. Here a tenor toward symptom elimination and conspiracy theories (“Beggar mafia”) appears to mark a climax in the helplessness regarding consequences of worldwide injustice.
Emotions evoked by the adversity or helplessness of the “other” can be observed and reflected in a “protected space” – that is, time- and spacewise shifted – as we do not have to react immediately to encounters with present persons.
This work, based on Kutlug Ataman’s video installation Beggars, is an homage to the artist and can also be regarded as an ambiguous commentary on the controversial and complex discussions about copyright law and art. Inconsistencies between rules protecting intellectual property and the referentiality based art production system are made clear by deliberately referring to the idea as juristically not protectable basis of artistic work.
In this work, referentiality as a basis of cultural developments is being concatenated with patterns of social phenomena and structural conditions of artistic production.
Stage design, Akademietheater (Vienna) and Theatre de l’Odéon (Paris)
The Play by Peter Handke, set in a midsummer garden, was transposed into a backstage setting where two actors meet amidst decoration remains after their performance of „Don Carlos“ and speak about love and their past lives, before the curtain opens to infinity.
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, DIEVORSPIELSERVICE is a very entertaining show with mostly unexpected crazy comments, singing along and enthusiastic audience participation.
For all the places where a DJ seems to be indispensable but is so often bored human decoration. And for those who cant´t afford to pay me fully — this comes along with 1 – 4 Readymixs (to be ordered).
A reconstruction starting from an audio tape from childhood on which two friends – Amina Handke and Lojang Soenario – interview each other and a photograph showing the two: Isn´t memory always a construction of the past, shaped by its remains (or those that are missing) and in the present?