THE, Billy Roisz & Dieter Kovačič
Exomoon, Gudrun Krebitz
Tricky Women goes Galleries
At Bildraum 07 Tricky Women compiles various techniques and topics addressed by contemporary artists.
GUDRUN KREBITZ | Do you ever talk to the moon?
BILLY ROISZ & DIETER KOVAČIČ | The
Ort: Bildraum 07, Burggasse 7-9, 1070 Wien
Opening: March 19th, 7 pm
Günter Schönberger, Bildrecht
Waltraud Grausgruber, Tricky Women
Words about the exhibition:
Elsy Lahner, curator for contemporary arts of the 20th and 21st century, Albertina Wien
The exhibition lasts until March 17th.
Festivalevent: Friday, March 4th, 6.30 pm – Artists‘ Talk
GUDRUN KREBITZ | do you ever talk to the moon?
Achill and Exomoon, both movies by Berlin-based artist Gudrun Krebitz, mingle elaborate collages made from photographs and drawings, processed through stop-motion technique. For the first time and with the exhibition of her sketches Gudrun Krebitz affords an insight into her working process. The highly awarded movie Achill tells the story of a woman with an agenda. She's undeterred but still open for opportunities. To tell this story Krebitz digs into her bag of tricks: she overpaints faces, moves sketches, lets fonts dance through the sequences. While the moving image traces the impact of acuity and blurs a flow of artistic inklings is created that is intertwined with the women's world of experience.
In her new movie Exomoon Gudrun Krebitz animated spaces of internalization and intuition. A woman beseeches the moon, for something terrible to happen which may disturb the painful eventlessness. In the moment of unpredictability deploys a new lucidity. Exomoon is a movie about the simple existence, about being part of something, about being present. Stilistically it recalls paintings by Maria Lassnig for it focuses the female body as autonomous force.
BILLY ROISZ & DIETER KOVAČIČ | THE
In the second part of the exhibition Billy Roisz and Dieter Kovačič examine the cinematographic mechanisms of horror. In THE they experiment with the patterns of listening and viewing by transforming the screen into a fragile membrane between the observer and the observed. Almost manic sequences of stripes, dots, and grids are followed by dark surfaces, punctuated by vibrant light sources. Everything is highlighted with moaning background noises and the raven's croaking. Comparable to a body the cinematographic images start to pulsate, to breath, to scream rhytmically. There is no concrete source of fear in THE, the object ob fear remains vacant. Billy Roisz and Dieter Kovačič don't allow the observer to connect with the pictures. Within 13 minutes the gap as shifting space between abstract and the concrete, between grey surface and fiery abyss, between cliches of nursery rhymes and authentic sounds of horror is left open. THE is a visceral movie about the psychic and haptic power of the abstract experience, levitating in the dialectics of Freuds term of the "uncanny".
A collaboration between Tricky Women and Bildrecht www.bildrecht.at