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Everyday objects, language, recording systems, and cultural displacements play key roles in Nora Schultz’s art, as do the observation and critical activation of the exhibition space and the artist herself as the work’s producer. Recently, she has employed various cameras (GoPro, video drone, etc.) as automated “co-producers” whose contributions to the creative process she cannot fully control and which have their own internal dynamics and probe the artist/author’s...

27. Juni 2019
Everyday objects, language, recording systems, and cultural displacements play key roles in Nora Schultz’s art, as do the observation and critical activation of the exhibition space and the artist herself as the work’s producer. Recently, she has employed various cameras (GoPro, video drone, etc.) as automated “co-producers” whose contributions to the creative process she cannot fully control and which have their own internal dynamics and probe the artist/author’s changing position vis-ą-vis its operation. In performative interactions, she often develops large installations that involve and take possession of the venue’s structure and sometimes project beyond its confines.
27. Juni 2019
The New Zealand-born artist Fiona Connor makes sculptural installations in which she replicates objects and structures of everyday life. Her recreations of bulletin boards, drinking fountains, furniture, and doors not only draw attention to these widely overlooked items and their forms, they also reconstruct the histories and micro-economies of communities. Many of her works respond to the infrastructure of the places and environments where she exhibits them, uncovering the underlying mechanisms that may inform our interactions with art and art institutions. The sculptures reveal the artist’s deep curiosity about how things are made. They play with the ambiguity of the handmade and the manufactured, as well as with the boundaries of an art object.For her exhibition at the Secession, #8, Closed for Installation, Sequence of Events, Connor has developed a body of work that comprises 23 bronze objects that resemble tools commonly used in the installation process of an exhibition: a measuring tape, ruler, pencil, dolly, etc. The sculptures work with the rules of a certain period of labour and maintenance, replicating tools that look very similar all around the world and are usually out of sight at the opening of the exhibition.
27. Juni 2019
Caring and forms of communal life have been a consistent theme in the oeuvre of Rosalind Nashashibi, who examines them in light of the specific political, social, and historical conditions that shape them. The private meets the political; in interweaving the two, the artist sometimes emphasizes political concerns, as in the film Electrical Gaza, which earned her a nomination for the prestigious Turner Prize in 2017; private aspects are the focus in other works, like the widely acclaimed film Vivian’s Garden(2017), which was commissioned for documenta 14 (2017): a portrait of the lives and relationship of the artists Elisabeth Wild and Vivian Suter, a mother and daughter who live largely in seclusion in the Guatemalan rainforest.