Umělec magazine 2009/2 >> Umělec in Austria List of all editions.
Umělec magazine
Year 2009, 2
6,50 EUR
Send the printed edition:
Order subscription

Umělec in Austria

Umělec magazine 2009/2

01.02.2009

Milena Dimitrova | editorial | en cs de

It was chance that led me to the editorship of this journal; and then, the fact that I had grown up in one particular small town in Austria, one that before many years was known only for its high church-tower and later for one Herr Schicklgruber, somehow fitted into the liking of oblique facts which is characteristic for Umelec. And so the publisher forced me to work on the task of an Austrian issue.
The idea of the Austrian issue came up in the first place because, it seems the Czechs simply cannot forget the Hapsburg monarchy, as well as the fact that commonly it is still regarded as something of a shining example of a community of nations in central Europe.
And, because our publisher—himself a typical Czech (with no small tendency to martyrdom)—continues to see in contemporary Austria the old Donaumonarchie (let us recall the economic relationships moving eastward)—he brought to life a counter-conquest movement within Austria’s young and contemporary art: the Austrian edition.
It is quite natural that Umelec has an interest in Austria, as somethimes it is regarded as part of the region of central-eastern Europe, sometimes excluded from the definition of this region. As well as it is the land where Metternich’s quotation, about the Balkans beginning at the Rennweg, is trotted out FROM official or corporate SIDE (such as in the catalogues of the Balkan-art exhibits), and where a view of its significance (geographically and otherwise) as an intermediary between East and West prevails.
Thus, of particular interest is the article by Herwig Höller, who takes up the question of the (pre-) history of the Austrian-Balkan friendship.
Quite fortunately, in the austrian edition we can also present the drawings of Zampa di Leone—the deliberately anonymous Serbian artist evidently everyone within the Belgrade scene knows, yet whose identity none is willing to reveal—they compel one to maintain an ironic distance towards the post-1989-East-West-relationships, from which things (unlike Zampa himself) become more visible.
Apart from all that we were naturally also interested in the themes that are taken up within the country itself, where the marketing of public space, urban space, the art market, alternative artistic production are discussed...
Bearing in mind the high degree of “discursivity” that these themes have gained for themselves, the thought forces itself toward the theory, that as soon as it comes into a situation of crisis and something is (believed to be) on the verge of disappearing, many voices towards its rationalization and further theorizing appear, or simply it is talked about a lot.
Cultural policy regarding the “Creative Industries” and the public space is the subject of the articles of Monika Mokre and Elisabeth Mayerhofer. And space and time have nowadays something in common: economics.
Andreas Spiegl and Gerald Raunig discuss the economics of time, creating an addition to the theme of the economisation of the public space. The impulse behind our interest in texts on the theme of time is, in turn, a result of the great extent to which currently the theme of time is discussed in the Czech Republic.
“Rapidité” by Gerald Raunig provides the image of a proto-post-Fordian human subject, whipping him/herself into a passion to become faster, better, more productive, and who is no longer involved in actual production (which is now possibly re-located to China) but, let us say, who is now involved in creativity.
Likewise, “Time Out Cities” by Andreas Spiegl speaks of the same contemporary urban populaces who live in a permanent Time-Out, and for whom time has become lost through this non-time, or else has been transcended.
In the “time-articles” it becomes most demonstrable that the line between self-determination (over time) and economisation (of time) can be a narrow one. One matter that also has validity with regards to public space – the proof of the possibility of its appropriation is given for example by the artist Leopold Kessler which Ursula Probst mentions in one article, or the performance group Gods Entertainment with its action “Passantenbeschimpfung” (insulting the passers-by).
Not to be left for the last, it have been mostly those artists active in the public space who have come (or are in) conflict with the far-right Austrian Freedom Party.
So on the occasion of a rightward shift in the votes, we are also reporting of artists’ initiatives that in the past decade have reacted to national politics, such as Public Netbase or the “Volxtheaterkarawane.”
In other words, Umelec wished to remain anchored in the specific themes that are currently being discussed here in Austria. And also to set out through the theme “Standpoint Austria” and the last 20 years, as also in Vienna this autumn a couple of exhibitions will be created on the theme of 1989 and the two decades of post-socialism. Of course this was not everything. During the work on this assignment we took a great deal of interest in all sorts of things in Austria, met with many individuals, and wanted to put everything into this edition, stretched the boundaries of the scope of this journal, and all in all there was space also for lot of other things. Here one could start with a further plot line—but editorials should never go on for so long as that.






01.02.2009

Comments

There are currently no comments.

Add new comment

Recommended articles

Contents 2016/1 Contents 2016/1
Contents of the new issue.
MIKROB MIKROB
There’s 130 kilos of fat, muscles, brain & raw power on the Serbian contemporary art scene, all molded together into a 175-cm tall, 44-year-old body. It’s owner is known by a countless number of different names, including Bamboo, Mexican, Groom, Big Pain in the Ass, but most of all he’s known as MICROBE!… Hero of the losers, fighter for the rights of the dispossessed, folk artist, entertainer…
Tunelling Culture II Tunelling Culture II
Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy
Goff & Rosenthal gallery, Berlin, November 18 - December 30, 2006 Society permanently renegotiates the definition of drugs and our relationship towards them. In his forty-five minute found-footage film The Conquest of Happiness, produced in 2005, Oliver Pietsch, a Berlin-based video artist, demonstrates which drugs society can accommodate, which it cannot, and how the story of the drugs can be…
ArtLeaks
27.07.2014 19:39
Where to go next?
out - archeology
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
Josef Jindrák
Who is S.d.Ch? A person of many interests, active in various fields—literature, theater—known for his comics and collages in the art field. A poet and playwright foremost. A loner by nature and determination, his work doesn’t meet the current trends. He always puts forth personal enunciation, although its inner structure can get very complicated. It’s pleasant that he is a normal person and a…
Read more...
out - poetry
THC Review and the Condemned Past
THC Review and the Condemned Past
Ivan Mečl
We are the fifth global party! Pítr Dragota and Viki Shock, Fragmenty geniality / Fragments of Charisma, May and June 1997. When Viki came to visit, it was only to show me some drawings and collages. It was only as an afterthought that he showed me the Czech samizdat publication from the late 1990s, THC Review. When he saw how it fascinated me, he panicked and insisted that THAT creation is…
Read more...
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Read more...
birthing pains
Who’s Afraid of Motherhood?
Who’s Afraid of Motherhood?
Zuzana Štefková
Expanding the definition of “mother” is also a space for reducing pressure and for potential liberation.1 Carol Stabile The year was 2003, and in the deep forests of Lapák in the Kladno area, a woman in the later phase of pregnancy stopped along the path. As part of the “Artists in the Woods” exhibit, passers-by could catch a glimpse of her round belly, which she exposed especially for them in…
Read more...
Books, video, editions and artworks that might interest you Go to e-shop
2008, 21 x 28 cm, Pen & Ink Drawing
More info...
223,20 EUR
More info...
6,50 EUR
Limited edition of 10. Size 100 x 70 cm. Black print on durable white foil.
More info...
75 EUR
Cycle of 28 digital photographs of a photographer fascinated by watching the cold, anonymous countryside. She is trying to...
More info...
2,01 EUR

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Citation of the day. Publisher is not liable for any mental and physical states which may arise after reading the quote.

Enlightenment is always late.
CONTACTS AND VISITOR INFORMATION The entire editorial staff contacts

DIVUS LONDON 
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

Open Wednesday to Saturday 12 - 6 pm

 

Office: +44 (0) 20 8692 5157
 

Ivan Mečl
ivan@divus.org.uk, +44 (0) 7526 902 082

 

Shop
shop@divus.org.uk, +44 (0) 20 8692 5157

DIVUS PERLA
Former papermill area, Nádražní 101
252 46 Vrané nad Vltavou, Czech Republic
ivan@divus.cz, +420 602 269 888

Open from Wednesday to Sunday between 11am to 6pm. From 15.12. to 15.1. only on appointment.

 

DIVUS BERLIN
at ZWITSCHERMASCHINE
Potsdamer Str. 161, 10783 Berlin, Germany

berlin@divus.cz, +49 (0) 1512 9088 150
Open Wednesday to Saturday 2 - 7 pm

 

DIVUS WIEN
wien@divus.cz
DIVUS MEXICO CITY
mexico@divus.cz
DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK
alena@divus.cz

DIVUS NEWSLETTER SUBSCRIPTION
Divus New book by I.M.Jirous in English at our online bookshop.