Tatjana Danneberg: Dance For Your Dinner

Freitag, 24. März 2017 - 19:00 Uhr

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In depicting things of the seen and unseen world, 21st century painters are time travelers. Just as time leaves its traces upon the ruins of mankind, the painters of the second millennium retain the last vestiges of early man. They traverse the stream of signs and symbols dating as far back as remote antiquity and come full circle to the present technocratic era. All manner of reproduction is game. Analog materialism or digital interfaces are ingredients passed through the colander, then strained of excess information.

Painting is the original link to information technology and propaganda; in 2017 it steps into the role once dominated by analog photography and with sweet irony outlasts silvery ?obsolescence?. It?s our last link to the Guttenberg press with its mechanics and process accumulating image and word. The first ?copy machine? was the handwritten book reproduced for the few who could read. The second was the abovementioned press and thirdly, early 19th century lithographic reproduction distributed widely.

A trick question: when a cave painting gets photographed is it still a cave painting you?re looking at? As we?re pushed ever closer to the simulacra this dilemma of individual perception is the millstone of our times which young painters like Danneberg grapple with. Her wall painting of multi-colored vertical stripes done on a kind of foil is fixed to the wall then peeled off its backing, like a sticker. Worked in the same methodology one picture on canvas is of muted translucent colors showing figures climbing and falling from a ladder amidst wavy lines. Another reveals the outline of a rowboat with bodies climbing on or jumping off into a murky depth where fish hover below. There are no gestural brush marks only distressed graphic impressions that register as enigmatic constructs.

The depictions you see lie somewhere between disintegration and recollection as if imprinting a state of mind. If the protagonists from the antique Roman and Byzantine frescos she sources in her paintings could animate they would be alienated by the slick corporate aesthetic that has engulfed the contemporary landscape. For these rudimentary ornamentations and people in motion are the ghosts in the machine. Literally ripped from the fabric of time they?re a reminder of human frailty before AI attempts a take over of both the body and mind. Here the two conflicting super agents of beast technology, algorithms and bots, are forever disabled for they?ve never lived a sentient life.

Text: Max Henry

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eSeL's Neugierde
Eröffnung, Tatjana Danneberg
Freitag, 24.03.2017 19:00
bis Montag, 24.04.2017
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Bäckerstrasse 7/8
1010 Wien
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