YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php



YYYYMMDD: QUESTION#0 Would you like to eat with us? Where?


KATHARINA AIGNER: Yes, here -Schwarzenbergallee 40, 1170 Wien.
It’s called Zur Allee.
Zur Allee is a “Beisl”, an “Einkehr” situated in a huge recreation area.
Zur Allee is surrounded by nature and woods, I´m quite often there after walking my dog. They serve vegetarian and vegan food.
Where would you like to take me?



We land in Lisbon and catch an overpriced cab to the historical neighbourhood of Alfama. Going through it’s narrow streets we will eventually find Restaurante Boi-Cavalo, our favourite place to eat at the moment. We like it so much that the last time we were there we had the whole menu.



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Ah ja, interesting. Two very different places, not just geologically.

I checked out their facebook page and found this photo, which I like very much
https://www.facebook.com/boicavalo.restaurant/photos/pb

(I´m wondering what is the motive on his arm?)

I take you for a walk - you take me for a whole journey!

I did a video recently walking - for Anna.
Walking for Anna Barfuss.
It consists of motives that i found on my walks with the dog.
The handy-camera is watching clouds travelling, or trees moving in the wind, the sun going down, lots of birds flying in the sky creating different forms and shapes together...





walking - for Anna
Phone recordings, color, 8min
Katharina Aigner, 2015




Soundtrack tip for
walking - for Anna



And travelling is such a great escape for me.
(I would love to escape with you for some days)


It is LE COQ GAULOIS and Paul.

Escaping would be awesome.
We often travel through cooking - we try to recreate some of the dishes we eat in our journeys. The other day we made a sardines-butter we had in Boi-Cavalo, sometimes we do the iced-tea we usually drink in a specific pizza place in Lisbon or an udon-soup we once had in Berlin. And we buy tableware on our journeys... Actually we are addicted to buying porcelain, ceramics and glasses... and most of the times we bring food too.

We bring also little videos (a lot) from places we went to and liked. To get the coordinates. To travel again.

Using the camera of the phone - collecting little “souvenirs”...

Walking is great, but sometimes we also enjoy driving around in the car. The other day we realised that in some cities we never took the subway, in others we used the public transport a lot, some we just know out of a car and others we just know by walking around.






Please show me one of your little videos, I´m very curious!
When you write about dishes and porcellan I have to think immediately about Manfred Pernice:



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Source: ceaac.org



Is the “we” easy - I mean do you agree on a lot? What does this “we” mean?
If the question is too personal skip it (although it interests me - but I also mean it in terms of working together, doing YYYYMMDD together. Wie kam es zu YYYYMMDD? You once told me that you had to do it, it was like a need... doing something together, becoming active.


A “we” is never easy and much better when in disagreement. We have similar points of view on the big issues I’d say, but from there on we disagree in a lot of things. Different positions lead to something forward when well combined, and I guess that’s a bit what happens with us. The YYYYMMDD is a good example: one really wanted to do it and it was not until both of us were emerged in it that the other really started feeling the same need. We think it’s easy to see who is who here...



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


The way this interview is growing was actually not planned. Every month the interview became kind of a different body. Which has a lot to do with the people we picked and the fact that we trust each other and the artists we choose. So...

#1 Why did we pick you? What do you think?

Nähe
Verbundenheit
Begeisterung
Neugierde

nearness / closeness / neighbourhood
affinity / bond
excitement / rapture
curiosity

Why did you pick me? And how did you come up with the selection of the 12 artists? Are you looking for something specific (in terms of genre, artistic methods, interests)? Is YYYYMMDD a collection?

... it feels good and right coming after Bernadette Anzengruber. She is my friend, colleague and ally. We know each other since years, worked together in different constellations and projects. I enjoy very much our ongoing dialog about art, our own work and I trust her a lot, she is often helping me when I don’t know where to go.


Remembering our first meeting in October 2011, I was impressed by your way of criticizing. You had a very strong position with a clear point of view and values. Showing that art or the production of art needs much more than just liking it. You questioned - it was harsh - but it made me curious to know more about you and about your work. Since then I did not stop following your path.

When we started thinking about YYYYMMDD (almost a year ago) we wrote a list with names - artists we are interested in, that surround us, that we know, whose work we appreciate.
We wanted to create an archive / a collection / a space bringing positions together, different approaches, materials.

Some artists were on our list from the first day on, they stayed and became part of the archive, others were dropped.

In a way all the positions we picked deal with topics we are interested in:
space
language
body
movement
technology
sculpture
film
video
just to name some of them.


Following each others path… that´s very beautiful and promising!

Reading your “list of interests” I have to think immediately of a book which is accompanying me for some time, I´ll go and get it -

Sturm der Ruhe. What is Architecture, Hg. Architekturzentrum Wien, 2011
There are several bookmarks and I opened one by chance...



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Photo: Katharina Aigner



Ich denke viel über Raum nach. Filmischen Raum, Kinoraum, innere Räume oder Gedankenräume. Möglichkeitsraum. Zwischenraum.

In one of my videos all our yesterdays everything is about space and place. And I´ll let you sneak a bit behind the scenes, ok?
It took me two years to finish it; first I wanted to shoot in a drive-in cinema (1) near Vienna, I already had a concept, the whole storyboard was based on this open-air cinema.



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Photo: Katharina Aigner



In the end we couldn’t film there due to a disagreement with the cinema owners. So I was looking for a new spot and after some research and intense driving around I found one, an unused parking spot, part of the Seestadt (2) area. The new place changed of course my ideas and plans for the film and I rewrote the script.



(1) http://www.autokino.at/
(2) http://www.aspern-seestadt.at/en



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Photo: Katharina Aigner



But also this place was not meant to be because shortly before we wanted to shoot there it looked like this:



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Photo: Katharina Aigner



The construction works were growing too fast and we didn’t get a permission to shoot in their building site.

all our yesterdays was shot in the end here, one year later, in 2014.



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Photo: Katharina Aigner



Escape into nowhere!

Now I believe that all the different places and the time, the changes, twists and turns during the preparation, and all the struggles, also the frustration... created in the end such a density and depth I wouldn’t have got without the journey.

Here is the link to the film, it will be online for some time so that the YYYYMMDD community can watch it - enjoy.



all our yesterdays
HD Video, 16:9, color, sound, 15min
Katharina Aigner, 2014



A little "how to escape / travel while working" trick:
Radar Lisboa FM

Utopian irreal places surrounding the cities - changing them.

to appropriate sth. [take possession of]
etw. in Besitz nehmen
von etw. Besitz ergreifen

In the end you created your own space, a cinema, a mobile version - a group of people/bodies collaborating - as a common practice in film/art/production?

Now we are at a point where we could move on in different ways:

A: We continue with question #2 How would you like to be (re)presented?
B: We jump first to question #3 Where would you position yourself?
C: We continue with question #5 How do you start your working-process?

These three options would lead the interview in different directions - what do you think about changing the order. Would it make sense?



Let´s talk or better write about question C!
#5 How do I start my working process?

In the case of the YYYYMMDD interview I wrote an email to artist friends:



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Lena Rosa Händle for example gave me this tip:
http://medienkunstnetz.de/themen/#thema2


I spent the whole summer on the countryside, in the house of my grandmother. My phone wasn’t working properly and I had to buy a mobile Internet stick for my laptop. It was kind of special thinking and researching about the world wide web (in combination with art) and being at the same time so slow and limited because of the crappy internet connection. And besides me, my grandmother who has a totally different relationship and approach to the digital world. But not just that, it was so much about body and age, memory, time - about evanescence.
I don’t have proper words for it.

Here is a link to a private Video I made (August 2015), it was supposed to become art but I didn´t work on it further, so all I have is this tryout/sketch.



Hände
phone recordings
Katharina Aigner, august 2015



And a view into my Notebook



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Photo: Katharina Aigner



Do you want to show me something from your working-process?



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


We have distinct working processes. My favourite place to create is the shower, that’s where everything starts for me. Once I have an idea of what I want to do I move to the next step: cleaning and organizing my desk. I can’t work in the usual chaos that I have in my desk. Cleaning also works for me as a way to better organize my thoughts and understanding how I’m going to develop the project. I usually have a very structured line of thought, very rational, sometimes too much actually, so I usually know where I want to go and how I get there.

I on the other hand have a completely different approach. For me it starts with going to Koenig to pick a book:



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php

Buying it. Reading it. The written words produce images. I start looking for "real existing" images. I start collecting them. Sometimes I find them on google, other times I take them with my phone. A lot of times they are little videos.



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php



Wow, thanks for sharing!

Let’s get lost together!!

I already tried to answer the questions weeks ago (I wanted to be prepared), look what I wrote:



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php





Sticks and Stones (work in progress)
Ulrike Köppinger, 2015
Photos: Sandra Kosel



What is your favourite work you or someone else did?


We will provide a little bit more than one.

https://www.youtube.com/watch?v=Vm5vZaE8Ysc

http://schirn.de/translantics/


UNDER THE CLOUDS: FROM PARANOIA TO THE DIGITAL SUBLIME
FROM 20 JUN 2015 TO 20 SEP 2015


Since the second half of the 20th century, we have lived under the shadow of two clouds: the mushroom cloud of the atomic bomb, and the ‘cloud’ of distributed information networks. How did the central metaphor of cold war paranoia become the utopian metaphor of today? ‘Under the Clouds’ explores the contemporary sublime that has replaced the natural one, and the interrelated effects and affects of these two clouds on life and work, leisure and love, and on images, bodies, and minds.

The post-war technologies of the emergent third industrial revolution have now evolved to fit in the palm of our hand; we no longer merely look at images, we now touch, scroll, pinch, and drag them. Where is the border between the self and its data shadow, between information, matter, and affect? The biological, economic, aesthetic, and political effects of living under the clouds has taken the form of new relations between data and material, as well as increasing debt and abstract financialization; the changing nature of work and sex; and new relationships between screens, images, and things. As earlier forms of technologically inflected art sought to mitigate the effects of change — both on perception and society — many of today’s artistic practices confront the myriad interfaces and decentralized networks that continue to shape and transform daily life, forming new evolving connections between bits and atoms.

Adel Abdessemed, Horst Ademeit, Cory Arcangel, Arte Nucleare, Darren Bader, Enrico Baj, Robert Barry, Eduardo Batarda, Thomas Bayrle, Neïl Beloufa, René Bertholo, Joseph Beuys, K.P. Brehmer, Bruce Conner, Kate Cooper, Gregory Corso, Guy Debord, Harun Farocki, Hans-Peter Feldmann, Carla Filipe, General Idea, Melanie Gilligan, Jean-Luc Godard & Anne-Marie Miéville, Peter Halley, Rachel Harrison, Mona Hatoum, Pedro Henriques, Thomas Hirschhorn, Yves Klein, Sean Landers, Elad Lassry, Mark Lombardi, Julie Mehretu, Katja Novitskova, Ken Okiishi, Trevor Paglen, Nam June Paik, Silvestre Pestana, Pratchaya Phinthong, Seth Price, Martha Rosler, Thomas Ruff, Jacolby Satterwhite, Ângelo de Sousa, Frances Stark, Haim Steinbach, Hito Steyerl, Jean Tinguely, Adelhyd van Bender, Stan VanDerBeek, Andy Warhol, Christopher Williams, Christopher Wool, Anicka Yi

‘Under the Clouds’ is curated by João Ribas, Deputy Director and Senior Curator, Serralves Museum of Contemporary Art.



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Liquidity, Inc.
Hito Steyerl, 2014



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


Rigged
Kate Cooper, 2014



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


CAN THE MUSEUM BE A GARDEN? - WORKS FROM THE COLLECTION OF THE SERRALVES MUSEUM OF CONTEMPORARY ART

Vasco Araújo, Richard Artschwager, Herbert Brandl, Stanley Brouwn, Fernando Calhau, Alberto Carneiro, Lourdes Castro, Rui Chafes, Luisa Cunha, Charles Darwin, Jan Dibbets, Fischli & Weiss, Simone Forti, Hamish Fulton, Mario Garcia Torres, Hans Haacke, Jasper Johns, Ana Jotta, Raoul De Keyser, Anselm Kiefer, Fernando Lanhas, Álvaro Lapa, Louise Lawler, Miguel Leal, Ree Morton, Juan Muñoz, Lucia Nogueira, Luís Noronha da Costa, Lygia Pape, Sigmar Polke, João Queiroz, Dieter Roth, Robert Smithson, Ângelo de Sousa, Paul Thek, Richard Tuttle

The museum, like the garden, is a place for wandering and contemplation. With its flora and artifice, the garden is a space for cultivation and pleasure, but it is also an idea, a metaphor, the intersection between nature, culture, and science. Walking in a museum, a narrative unfolds before us, its many paths and streams connecting knowledge with the senses. Whether wild or mannerist, ordered or picturesque, the garden, like the museum, is experiential and affective, a space in which we are invited to wander through a landscape in perpetual growth, with forms, objects and colours arranged in space. As the garden represents the rational ordering of the natural world, so an exhibition is a garden of images, ideas, and emotions. Both places intertwine walking with the imagination. ‘Can the museum be a garden?’ engages these conceptual and historical relations between the garden and the museum. While some artworks drawn from the collection of the Serralves Museum directly address ideas of landscape and nature — from the use of natural materials to the movement of plants — others treat the garden as an expanded metaphor for seeing the world. In addition to these works from the collection, additional works by Hans Haacke and Louise Lawler have been ‘planted’ within the museum for the exhibition, as new species growing alongside the well-cared-for garden that a museum collection represents. As an exhibition, ‘Can the Museum be a Garden?’ will itself change with the seasons. In relating the exterior space of the garden with the interior space of the museum, the exhibition also draws on the unique setting of the landscape designed by Jacques Gréber, and the architecture of the Serralves Museum itself, conceived by Álvaro Siza. ‘Can the Museum be a Garden?’ engages the museum as a place for wandering and wondering, charting new paths through its spaces, and the act of walking as an aesthetic and contemplative practice.  How should we walk through a museum? Should we set out and explore? Run, get lost? Or be guided on our way, following our senses and our curiosity?   ‘Can the Museum be a Garden?’ is curated by João Ribas, Deputy Director and Senior Curator, Serralves Museum of Contemporary Art. 



YYYYMMDD — Interview Katharina Aigner — http://www.yyyymmdd.de/interview-katharina-aigner.php


A verdadeira Madagáscar / The real Madagascar
Painted MDF, plastic, motors and electronic devices
Miguel Leal, 2003



This piece was part of an exhibition we went to this summer in the Serralves Foundation (Porto) with the name "Can the Museum Be a Garden?"
This piece was facing Solo n.° 1 by Simone Forti.


Thank you for the links (I will browse through translantics immediately)

...

I am still very impressed by her work November.
http://www.ubu.com/film/steyerl_november.html

Simone Forti - I´m again and again coming back to her!


Which #questions are left?



#2 #3 #6 #7 and we still have to show our favourite work we did

How should we continue?

#2 How would you like to be (re)presented?
#3 Where would you position yourself?
#6 Which is/are your material/s?
#7 Show us your network.


I’ll try answering in the right order...



#2 How would you like to be (re)presented?


Right now I´m presented by you and I´m enjoying our working process for the interview a lot, it feels very honest and non-hierarchical, I have the feeling we’re really trying to talk to each other (within the format of YYYYMMDD) - but it’s also temporary.
I don’t have a gallery and I´m living a very precarious life as an artist, sometimes I have doubts that I’m really capable of it. But maybe this is a good moment to talk more in general - there is still a huge imbalance between representation of female* and male artists and especially in the last weeks/months I saw a lot of announcements for group shows with ¾ Künstler and ¼ Künstlerinnen (or even less) participating and if you look outside of Vienna it’s sadly not very much different.
http://www.artnews.com/2015/05/26/taking-the-measure-of-sexism-facts-figures-and-fixes/
Then I’m wishing for more courage and audacity when it comes to showing and supporting young/not established artists and I´m talking now about institutions, I have the feeling they are all so afraid of it, or is it a problem of myopia?
Yesterday I picked up films from Linda Christanell and in her case an artist friend is providing her whole film archive (digitalised 8 and 16mm films), he is doing it for free and he also told me: you know what? We need to help each other, at least we need to help each other!
I could actually continue here becoming more and more furious... as it seems to be just about basic needs than anything else.
And last but not least payment: I want to be payed for my work! And I don’t want to ask kindly for payment or even beg for payment, I want to be payed in an adequate way! HAS THE ARTIST BEEN PAID? http://www.igbildendekunst.at/bildpunkt/bildpunkt-2015/demokratie-im-praesens/has-the-artist-been-paid.htm


#3 Where would you position yourself?

I studied singing, dancing and acting and some years ago I was (for a very short time) a musical singer. I came to Fine Art because of Performance and performing a lot, if people would ask me about my profession I told them that I was a Performer. It took me quite a while to find my mode of expression and I´m working since some time now with moving images. A lot of my work is becoming in the end a Video.
But I don’t always know where I’m standing and if I’m standing there upright and solid. That’s a permanent process.
Also the space, the distance between me and the art, my own artwork varies. Sometimes we are really close and connected, nearly swaying together (that’s usually like this when I have a lot of time in my studio, don’t need to work somewhere else for a living etc.) and then there are times when I’m doubting and thinking about doing something completely different. That can be exhausting too.

Where would you position yourself?


Art
Design
Moving Images
Moving Bodies
Performative Art
Text
Architecture
Engineering
Product design
Photography
Communication
Writing
Curating
Positioning
In between
Cologne
Vienna
Lisbon



#6 Which is/are your material/s?



Text
Google-Search
Images
Moving Images
Body
3d-Modelling-Software
Iphone
Tracking-Software


the camera
movement
acuity / blur
light
ambience
narrative
senses
.
.
.
and always challenging unforeseeable events



#7 Show us your network.


I’m part of swfmu (some women film makers unite), it currently consists of Franziska Kabisch, Laura Nitsch, Liesa Kovacs, Ipek Hamzaoğlu, Lisa Kortschak, Malene Nielsen and myself. We meet once a month in one of our flats showing each other work, work in progress or project proposals. We discuss ideas, we share experiences but also struggles or fears and we’re trying to support each other in job and life matters. It’s normally in the evening and connected to a dinner some of us prepared. We’re doing this since half a year and it’s always my highlight of the month, the atmosphere is so intimate and special and I feel very safe around them and appreciated for who I am and what I know. Besides this they are all very talented video artists and I enjoy very much watching their films and by that getting to know them and their way of working, their artistic practice, better.
Do you show your network via YYYYMMDD?



Yes. The artists we picked for the first year are all - so far - people we know. We would say that here we show our “art world network” - the producing artists.
But we have plans to go outside our network not only because we are interested in more people than just our acquaintances, but also because it becomes a way of expanding the network.



I’ll be away over the weekend, probably without internet connection. I’m curious what is happening in the meanwhile here...talk to you soon!



HI GIRLS IT’S ME RICARDO: I’m now programming the interview otherwise I won’t make it on time for Wednesday, so I’d ask you to, from this moment on, write the new content in colours - for instance Katharina in red and Dani in green - even if you make changes. This way I can track what happened after I put the text into the code so I can easily add it later. Thanks for your cooperation. At counter number 5, Ricardo. :P



THANKS FOR THIS VERY NICE INTERVIEW.



Hello, I´m back :)









Katharina Aigner, born 1983, lives and works as an artist in Vienna.
She is the organizer of "Let´s show moving images!" at topkino.

http://filmandtext.tumblr.com
www.katharinaaigner.net