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Caroline Heider

The Mink Source (Elfie-Semotan-Serie), 2009

Against Interpretation II Variation für Cello, frei nach Joseph Haydn op. 76 Nr. 3

exhibition period:

June 3 - September 26 2010

Performance:

Jun 5 2010, 7.00 - 7.30 p.m.

photo book presentation:

June 24 2010, 7.30 p.m.

From 8.30 p.m. "Meet the artist at La Paloma-Bar!“

exhibition space:

State Gallery Linz

born in 1978 in Munich, lives in Vienna
 


Caroline Heider, »The Mink Source N°2« aus der / from the »Elfie-Semotan-Serie« [Elfie-Semotan-series], 2009

Pigmentdruck auf Papier, gefaltet / Pigment print on paper, folded · Foto hier / Photo above: 140 x 82,5 cm

Courtesy Galerie Winiarzyk, Wien

 
Caroline Heider bases her work on existing pictures, on a public world of images which is conveyed in magazines, for example. Media-related images are a reality of their own and have their reflexive effect on the world. The artist’s interests focus on this process and the social and cultural context of the pictures. In particular, she examines the question of how pictures function in the context of artistic production. Caroline Heider adopts strange pictures for her works, she removes them from their contexts and reproduces and processes them.

A decisive »trick« in this process is the fact that she folds them: in contrast with the method of collage, combining parts of cut-out pictures, the area of folded pictures remains in principle intact – as deliberate action the fold creates a two-dimensional picture body, in whose »shadow« parts of the picture still exist, even though they are hidden. Often, pictures of fragmented (women’s) bodies are created in this way, while the social meaning of the (fashion)accessories coding the body within society are highlighted. In the case of the »Pelzchen«- series showcased in the exhibition, Elfie Semotan’s models are derived from a printed catalogue of the Liska fur shop. The caption says Elfi-Semotan-Series, referring to the grande dame of Austrian (fashion) photography. Elfi Semotan got the idea for this advertisement through a volume of paintings in which she saw works by Raphael. The poses of the advertising catalogue are based on the painterly model. Thus the line between art and advertisement is not clear in Semotan’s work, in contrast to Heider’s..

(Rainer Iglar)

 

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