Du oder ich? Collective Soul. Ethik des Miteinanders
Passing Through The Grass
Olson Lamaj
Passing Through The Grass reflects our current way of life that is becoming increasingly defined by constant movement from one country to another. On one of my flights from Austria to Albania, I looked out of the airplane window and I saw how the plane, as it flew over a soccer field near the airport, cast a shadow. This episode inspired me to return to this location to take a photograph of the soccer field with the shadow of a plane flying over it.
Watch Out for Counterbalance
Female Obsession
In their installation Watch Out for Counterbalance, Female Obsession attached manifesto-like statements to the bridge in Melk that addressed the demographics of our contemporary social structure as part of the context of Du oder ich? – Collective Soul. Ethik des Miteinanders (You or Me? Collective Soul. Ethics of Togetherness).
Olson Lamaj
Passing Through The Grass reflects our current way of life that is becoming increasingly defined by constant movement from one country to another. On one of my flights from Austria to Albania, I looked out of the airplane window and I saw how the plane, as it flew over a soccer field near the airport, cast a shadow. This episode inspired me to return to this location to take a photograph of the soccer field with the shadow of a plane flying over it.
Watch Out for Counterbalance
Female Obsession
In their installation Watch Out for Counterbalance, Female Obsession attached manifesto-like statements to the bridge in Melk that addressed the demographics of our contemporary social structure as part of the context of Du oder ich? – Collective Soul. Ethik des Miteinanders (You or Me? Collective Soul. Ethics of Togetherness).
PALAFITA (für Melk)
Libidiunga Cardoso & Caetano Carvalho & MARSSARES
The installation PALAFITA (for Melk) by the Brazilian artists Libidiunga Cardoso & Caetano Carvalho & Marcelo Marssares was made of wooden poles and boards and represented the permanent flux of construction and remodeling. The interactive and participatory concept drew from the Brazilian art movement called Neo-Concrete (Neoconcretismo), and the artists used the same constructivist vocabulary that has been employed in Brazilian art since the 1950s for the realization of processual and participatory projects, applying it as a clear statement for a form of art in which sculptural constructions, performances, and public space interact. PALAFITA is a kind of living organism that borrows methods of tropical architecture and invites visitors and passersby to us their own creativity.
The object behind PALAFITA is to make room for sensory and formal experiments by incorporating the senses of hearing, feeling, smelling, and touching, while expanding the bodily experiences of everyone involved. Through this process of self-empowerment, PALAFITA refers to oppositional movements in Brazilian art in which artists protested against how the country’s post-colonial background influences the adoption of values . As a site-specific installation, PALAFITA acted as a stage for performances by the artists involved and for participatory projects.
Libidiunga Cardoso & Caetano Carvalho & MARSSARES
The installation PALAFITA (for Melk) by the Brazilian artists Libidiunga Cardoso & Caetano Carvalho & Marcelo Marssares was made of wooden poles and boards and represented the permanent flux of construction and remodeling. The interactive and participatory concept drew from the Brazilian art movement called Neo-Concrete (Neoconcretismo), and the artists used the same constructivist vocabulary that has been employed in Brazilian art since the 1950s for the realization of processual and participatory projects, applying it as a clear statement for a form of art in which sculptural constructions, performances, and public space interact. PALAFITA is a kind of living organism that borrows methods of tropical architecture and invites visitors and passersby to us their own creativity.
The object behind PALAFITA is to make room for sensory and formal experiments by incorporating the senses of hearing, feeling, smelling, and touching, while expanding the bodily experiences of everyone involved. Through this process of self-empowerment, PALAFITA refers to oppositional movements in Brazilian art in which artists protested against how the country’s post-colonial background influences the adoption of values . As a site-specific installation, PALAFITA acted as a stage for performances by the artists involved and for participatory projects.