• WHO WAS 1968?
    28 Sept 2018 − 13 Jan 2019

    LENTOS Kunstmuseum WHO WAS 1968? Art, Architecture, Society Curated by: Hedwig Saxenhuber, Georg Schöllhammer Loans by Kontakt from: Heimrad Bäcker, Stanisław Dróżdż, VALIE EXPORT, Stano Filko, Běla Kolářová, Július Koller, Natalia LL, Karel Miler, Petr Štembera, Raša Todosijević and Goran Trbuljak A decade of eruptions, departures and redefinitions in the steel city Linz. The year I968 marks a turning point that ushered in a new era. Across Western Europe and in the United States Student protests and workers’ revolts called into question the post-war power structure itself, while Soviet tanks bulldozed the Prague Spring into the ground and signalled the end of the hope that the Eastern Bloc would open up to the West. This exhibition harks back to the echoes of I968 in Linz and Upper Austria. Embracing the arts, architecture, music, film and literature, it unfolds for the first time a synoptic map on which key figures and moments of local history – some largely unknown to this day – are accorded a place. It enables visitors to embark on exploratory trips and to survey the rich fabric of relationships and linkages that includes points of contact with international scenarios and trends. Experiments in the aesthetic field were begun with a view to escaping from the cultural stuffiness of the first two post-war decades. The participating artists include: Claudia von Alemann, Ant Farm, Heimrad Bäcker, Josef Bauer, Bill Bollinger, Dietmar Brehm, Gerd Conradt, Waltraut Cooper, Stanisław Dróżdż, Erró, VALIE EXPORT, Harun Farocki, Hans-Peter Feldmann, Stano Filko, Helmuth Gsöllpointner, Timo Huber, Johann Jascha, Martha Jungwirth, Gülsün Karamustafa, Gerhard Knogler, Běla Kolářová, Juliús Koller, Peter Kubelka, Zofia Kulik, KwieKulik, Maria Lassnig, Fritz Lichtenauer, Natalia LL, Karel Miler, Josef Nöbauer, OHO, Yoko Ono, Gina Pane, Friederike Pezold, Cora Pongracz, Chris Reinecke, Martha Rosler, Dieter Roth, Zorka Sàglovà, Dominik Steiger, Petr Štembera, Raša Todosijević, Goran Trbuljak, Tucumàn Arde, Jiřì Valoch, Agnés Varda, Peter Weibel, Hannah Wilke, Jana Želibská, Želimir Žilnik, Zünd-Up


Ricarda Denzer

Ricarda Denzer's audiovisual work deals with language, sound, and translation in the social and cultural fields as well as with the relationship between artist and audience. Denzer employs interviews, sound pieces, videos, photos, and drawings to develop complex transmedia installations. Of essential importance to her works of recent years has been a mobile recording studio (“10m² portable. Mobile studio”) that she developed for the interview project "Šmuggeln" (2006/11), as well as the group of notebooks entitled "Aufzeichnungen 2006–2012." Denzer’s mobile studio itself forms the setting for the installative work "La Croûte de Chou" (2007), at the center of which stands a conversation with the Indian union activist Namrata Bali. Bali speaks of sustainable and democratic structures with great intensity, her goal being to strengthen her organization in order to better “organize the unorganized.” The visual level here is dominated by a female prompter, whose whispered text consists of associatively ordered comments by a tax advisor and a coaching team, as well as of fragments from financial and economic news. These elements were brought together by the artist to form an interlaced portrayal of contemporary artists’ present-day occupational reality, working conditions, and generally precarious circumstances. Denzer spent several years ordering her artistic ideas, thoughts, associations, and questions in the notebooks "Aufzeichnungen 2006–2012," which thus amount to a visualization of her thought processes. For the artist, these densely written- and drawn-upon notebooks function as “audiovisual memory minutes,” filled parallel to the creation of her works and exhibited together with them as “footnotes of production” (Christa Benzer). A logical consequence of this was the 2012 audio piece "Perplexities," which she created together with sound artist Peter Szely; the basis for this transmedia composition is supplied by Denzer’s transcribed notes.

Denzer’s 2013 artist’s book, likewise entitled "Perplexities" makes reference to Hannah Arendt, who wrote that, in view of the helplessness and perplexities of our world, the most we can do is to think about them together. This book contains numerous interviews, text collages, and audiovisual protocols pertaining to various projects by Denzer, as well as presentations of recent artistic output.


1967, Kirn / DE

Ricarda Denzer studied Architecture at the TU Innsbruck (Austria) from 1986 to 1988 and Graphic/Conceptual Art at the University of Applied Arts in Vienna (Austria) from 1989 to 1993. Since 1993 she works as a freelance artist. Denzer has received the "Förderpreis für Bildende Kunst des Landes Tirol“ (2001/2002) and the "Kunst und Kulturpreis Niederösterreich: Anerkennungspreis für Video, Kunst im elektronischen Raum“ (2009).


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