IG Bildende Kunst Logo
Die IG BILDENDE KUNST ist eine Interessenvertretung der bildenden Künstler_innen in Österreich. Wir initiieren kulturpolitische Debatten und intervenieren in Entscheidungsprozesse, die Auswirkungen auf Arbeit und Leben bildender Künstler_innen haben. Unsere Aktionsfelder sind Kunst, Politik, Service und Zeitung. Wir fordern: Freiheit der Kunst! Recht auf soziale Rechte! Bleiberecht für alle! Gleiche Rechte für alle!

Solidarisieren, Mitglied werden, Vorteile genießen!


Arbeiten  im Detail

Renée Stieger (A)

unë dua më tepër – ich wollen mehr

Installation (for one berth), 2005

It’s an installation about the longing for anything better, than the circumstances we are living in. Sometimes it seems to be easier living in an illusion, thinking absurd thoughts about how anything could be better, if only things would be different. "if I could …, I would…".

Wouldn’t it be more constructive to use time for changing things for a better life instead of dreaming of it? Or are our dreams a kind of meditation?

A German text, literally translated word by word into Albanian, is hand written onto the berths walls. The text consists of subjunctive sentences, which might not make much sense for the Albanian-speaking audience, translated in this way.

This work is inspired by the trials of immigrants in Austria to talk German without knowing to much about the language. In this installation the artist translated German sentences without help, only with a dictionary into Albanian and tries to express herself in a language she does not know.

Elsa Martini (AL)
Do You love me?
Visual poetry and alternative poetry

Show out the idea of Be-longing between too people, one from east side of Europe , and other one from west side. They try to communicate to each-other and to be long to each-other, exchanging messages. Their communication time to time becomes abstract, because of separation and differences.   Nevertheless, seams as longing pass through the borders.

Renée Stieger (A)
Iwould like to be perfect – Ich wäre so gern perfekt
Photo documentary of the performance in Vienna 2005

The selection comprehends about 10 photos in the format of 20 x 30 cm. They show the artist while performing at opening of the first part of this collaboration, the exhibition Be-longing at IG BILDENDE KUNST Gallery in Vienna . The performance piece was about a woman who tries hard to belong to the upper class ladies. Influenced by the rainbow press and colourful womens-magazines she appeared in a very special and stereotype way. She troubles herself for showing up styled perfectly and staying perfect. During the night she keeps painting her lips more and more. Details, like toilet paper on her high heeled shoes soles, a stocking wrapped around her leg and way too much make-up make her look completely overloaded. Part of the performance piece was pretending that everything is fine.

Showing up as a person who did all kind of that conventional styling in order to belong to the high society, in this case she found herself standing outside of the art society. So she appeared kind of ridiculous in this situation longing for being part of something, but not belonging to it.

Suela Qoshja (AL)

one minute

Installation, 2005

For her installation in the Gallery IG Bildende Kunst Suela Qoshja has created hundred small miniature figures made from masking tape, which she arranges in the windows. She explains Be-longing as an unsurmountable state: In her installation the immigrants have arrived in the´holy land´, yet they remain foreign.  "When I started to work on my new project for the exhibition ‘be-longing 2’ in Tirana, I was thinking about the fact of these little white like-human figures I created for the exhibition ‘be-longing 1’ and left back in Vienna looking through the windows of IG BILDENDE KUNST gallery. After the closing of the exhibition in Vienna , they took them in a plastic bag and left them in a corner of the gallery for some months.   Now these little human-like figures came to Tirana by air plane, carried by one of the participaiting Austrian artists. (…) Looking this Austrian man with lots of ‘immigrants’ packed in a plastic bags, was for me a meaningful idea: it was a fictitious performance of these un-breathing, eyes-less, flesh-less people traveling from an airport to another. It reminded me on the terrible ways, Albanians of all levels had been choseen to escape from their country during ’90 ties. These miniature figures should remind us on the thousands of known and unknown refugees, now living somewhere in the world, or still living in Albania , because they could not cross the borders.

Elsa Martini (AL)
Vote your preferred couple

Series of Photographs, 2005

A series of color photos showing a woman always in company with different men and women, focuses some questions concerning society in general. What does it mean to "belong" to somebody and what role plays some-ones look, race, nationality, cultural background, age, religion or profession in this context. The artist invites the public to vote for their most preferred couple by marking of with red dots under the chosen picture.   How the audience responds, do they take the chance to chose one ‘Albanian female subject’ together with another person of both genders or do they deny, provides maybe an insight into a part of Albanian. "For a woman it is possible to choose, but is it a real possibility?"

Herbert Christian Stöger (A)
Video, 2005

A film about eight variations of saying goodbye using the same settings. (An idea borrowing from the style of Wim Wenders’ latest film "don’t come knocking") Two men are waiting. A woman joins them, says goodbye to her husband, behind them, somebody is waiting in the lift. The two men leave. The woman stays. I: His friend, he will spend a weekend with him to relax in a hotel. He will tell him about his new big love. His loved one, who is twelve years senior to him, will soon have to leave the country because of tax evasion. II: His lawyer, an important legal proceeding is just around the corner. He wanted to shoot his neighbour’s dog and instead shot his wife. III: A police man, who collected him for his prison sentence of several years. IV: The neighbour, who will look after his wife while he is on a business trip. V: An employee, who is waiting for his boss: An important completion of a contract is imminent. This could enable him to stay several months abroad. His wife will have enough time to think thoroughly about her life. To pack the suitcases and travel to the holy land. VI: A work colleague, who, like any other day, gives him a lift to work. VII: The future husband. In all friendliness he says farewell to his wife, who has just left him. VII: A stranger, whose car breaks down. The man gives him a lift to the city, while he, as usual, embraces his wife to say goodbye, because he works in a laboratory for animal experiments. This time he might infect himself, return home and pass the disease on to his wife while making love to her.

Hilde Fuchs (A)
ongoing performance for 2:15 h, roominstallation, slideprojection, sound, clothes videodocumentation of the performance in Vienna (150 min), 2005

"Pret a Porter" (ready to take) is a french term for fashion design shows for a privileged wellfare-society, nebst to the exclusive luxury class of "Haut Couture". The project deals with clothes as a society measurement and with a "literally" transfer of the title it shows up human rise and fall as textile appearances. By subjecting myself to a performance experiment, I am watching out for the sight of failure and loosing, where I am focusing the poetic potential and dramatic imaginations of lost, forgotten or left clothes in public spaces of Vienna. Using elements of J. Grotowski’s theater method and B. Hellinger’s psychotherapeutic methodology of family-constellations, the aim is not to "play" anything, but to work with the left "aura" of the former owners of the clothes which were not cleaned. The work is also a metaphor for searching individual identity.

Hilde Fuchs (A)
Prêt-à-Porter – Tirana
fashion objects, roominstallation, 2005

The project is reffering to the increasing practice of multinational fashion labels to locate their production in countries with starvation wages all over the world and in Eastern Europe. The garment industry which is a working sector of 90-95% women employment, is commonly considered to be among the worst paid world-wide. Seamstresses work under slave-like conditions which undermine their health and exhausts them. Female labor remains cheap because of the perceived natural abilities and skills of women which are not compensated for with higher wages. These so-called innate skills are actually skills learned over time. Focusing on these "innate skills", the project points out exploiting fashion multinationals, using their own offensive label strategies.

Rudina Memaga ( AL )
fashion victims

photography, digital-print on paper, 2005

In her new project " fashion victims", which she did during her visit in Austria , Rudina Memga shows photos of beggars and homeless people on the streets of Vienna . Not only to show, that poorness is not only a question of poor countries. She imposes the context, being model - just as they where - like in a fashion magazine, on them and in a way the pictures change suddenly.

Herbert Christian Stöger (A)
annähernd zurückweisend

Video (Sepia), 22 min., 2005

The artist presents a video work where longing for security and belonging (affiliation) as an aspect of relationships are viewed closely with an ironic underpinning. When she moves closer, he takes a distance and vice versa-an endless back and forth very much in the sense of Be-longing. A women in an elegant costume and a man in a dark suit long for closeness. Like their longing (yearning) they remain anonymous. Their heads are not visible. The feeling for each other ends in emptiness because one moves away from the other or keeps away the other. Therefore one moves closer to the other again and again, yet only one after the other passes through the picture and changes, according to the one that is pushed out of the image, their desire to closeness and rejection