Refuse the shadows of the past; 5 years Austrian Art Made in China by the Embassy of the Art

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Content 5 Years Austrian Art Made in China

Forewords

Dr. Claudia Reinprecht Dr. Florian Knothe Mag. Gudrun Schreiber

Artists

Franz Amann Allan Au Lukas Birk Hannes Böck Karel Dudesek Sylvia Eckermann & Gerald Nestler Georg Frauenschuh Tina Hochkogler Anna Hofbauer Jan Krogsgaard & Thomas Weber Carlsen Heimo Lattner Johann Neumeister Moritz Neumüller Thomas Pakull Anton Petz Rainer Prohaska Ralo Mayer Ida & Bianca Regl Audrey Salmon Christian Schwarzwald Bernhard Staudinger Heimo Wallner Roswitha Weingrill Sylvia Winkler & Stephan Köperl Andrea Witzmann Gerlind Zeilner

We are grateful to all artists for their cooperation.

Organised and supported by

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5 Years Encyclopaedia of Austrian Art Made in China

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Curriculum vitae

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Credits

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Forewords 任珮雅博士 奧地利駐香港及澳門總領事

Dr. Claudia Reinprecht, MBA, Consul General of Austria to Hong Kong and Macao The Austrian Consulate General in Hongkong and Macau is excited about the exhibition “Refuse the Shadows of the Past: Five years of Austrian Art Made in China” being shown in the Hong Kong University Museum and Art Gallery in Hong Kong. With some 30 Austrian artists who—thanks to an artist-in-residence programme financed by the Arts division of the Austrian Federal Chancellery—worked and lived in China, the exhibition offers a unique Austrian perspective on China’s breathtaking developments, her past and present.

I am deeply indebted to the Director of the Hong Kong University Museum and Art Gallery, Dr. Florian Knothe, whose support was instrumental for this exhibition to be shown in Hong Kong. I am sincerely thankful for the great partnership he extended to the Austrian Consulate General in order to make this project a true success. The Consulate General is also thankful to the Arts Division of the Federal Chancellery for the full funding of the project. Finally, I shall extend my gratitude to Karel Dudesek and Lukas Birk, curators and co-founders of the Austro Sino Arts Program, for bringing this exhibition to Hong Kong.

This unique exhibition comes indeed timely as the Austrian Consulate General proudly celebrates 160 years of consular relations between Hong Kong and Austria. In addition, we commemorate 50 years since the honorary Consulate has been upgraded to a fully-fledged Consulate General’s position for career diplomats. 160 years tell a vivid story of Austrian encounters in Hong Kong. Austria was one of the first nations represented in Hong Kong and doing business with the striving community of the Fragrant Harbour.

community in Asia. Hong Kong with the Pearl River Delta is the number one hub for Austria’s foreign trade industries. Outstanding Austrian personalities such as Dr. Helmut Sohmen, Anthony Hardy or Henry Steiner testify to the exceptional qualities that Austrians bring to the city and contribute to its prosperity and high standard of living. In addition, Hong Kong is one of the most attractive Asian destinations for Austrian travellers; approximately 26,000 Austrian tourists visit the city each year.

Building on this solid foundation of our bilateral ties, the Austrian Consulate General endeavours to promote further peopleto-people contacts in particular through enhancing our exchanges in the field of culture and the arts. Art is a particular powerful tool to reflect upon and understand socio economic, cultural and societal transformations in times of profound paradigmatic changes. Change, migration and diversity are a reality in our postmodern world. Hong Kong is a particular suitable place to look at these phenomena, in particular from a greater China perspective.

With the hustle and bustle, the restlessness, but also the colourfulness and the diversity, Hong Kong has come to epitomize the postmodern city of today reflecting the polarization of a globalized world.

The exhibition “Refuse the Shadows of the Past: Five Years of Austrian Art Made in China” serves as a magnifying glass through which visitors will see a shattered and reconstructed ecosystem full of contrasts. This allows for a shift in perspective beyond well-accustomed behavioral and perceptual patterns, a precondition for learning and sense-making. It is our hope that our two communities can join together in this exciting learning experience.

奧地利駐香港及澳門總領事館對香港大學美術博物 館正在舉行的“擺脫過去：中國創作的奧地利藝術 五年展”感到甚為雀躍。感謝奧地利聯邦總理府藝 術司對藝術家駐村計劃的資助，致使三十位奧地利 藝術家得以在中國工作居住。而是次展覽更從奧地 利式的獨特視角來展現中國從過去到現在的驚人變 遷。 對於展覽能在香港展出，我得向香港大學美術博物 館總監羅諾德博士表示深切的感激。為使展覽取得 圓滿成功，我誠摯地感謝他與奧地利領事之間的合 作關係。此外，我也向奧地利聯邦總理府藝術司對 是次藝術項目的全數經費支援致以誠摯的謝意。最 後，展覽因奧地利中國藝術計劃的兩位策展人及創 辦人–卡瑞爾•杜德賽斯教授和盧卡斯•伯克得以 引進香港，亦在此一併致謝。

為促進更緊密的雙邊關係，奧地利總領事館致力於 拉近人與人之間的聯繫來提升文化藝術交流。藝術 是最強大的工具，是反映及了解社會經濟、文化與 社會轉化上深遠的典範移轉。變化、遷移和多樣化 是後現代世界的真實寫照。香港便是探討這個現象 的最佳據點，尤其是從大中華的角度來闡發。伴著 忙碌繁囂，卻又多元多彩，香港可謂是現今反映全 球兩極化後現代城市的縮影。 《擺脫過去：中國創作的奧地利藝術五年展》就像 是一塊放大鏡，觀眾將會看到一個充斥煩亂又再重 新建構的生態環境。這樣的環境容許了一種視角轉 移，一種建立在約定俗成和感通認知模式上，也是 學習感知先決條件上的轉變。我們冀望兩個團體能 共同分享這個學習經驗。

是次展覽適逢奧大利駐香港總領事館慶祝奧、港建 交一百六十週年紀念。與此同時，領事館還慶祝奧 地利領事由榮譽領事轉而正式建立全職大使外交關 係五十週年紀念。一百六十年來，香港與奧地利之 間的點點滴滴已串織成一篇精彩的故事。奧地利不 僅是最早在“香港”駐有代表的國家之一，同時也 在此奮鬥之地進行商業活動。 自此以後，奧地利便與香港建立起深厚的友誼。人 與人之間的接觸更為頻繁。大約有兩百二十間機構 在這裡紮根 –二零零八年起更上升了百份之十五!

– 如今約有七百名奧地利人在香港生活工作 –並 建立起亞洲最大的奧地利社羣。香港和珠三角是奧 地利首屈一指的外貿樞紐。奧地利傑出人士如蘇海 文博士、何安達或石漢瑞均表明奧地利對香港繁榮 與高素質生活實有著不可多得的貢獻。與此同時， 香港還是最吸引奧地利遊客的亞洲地區，每年大概 有二十六萬人次的奧地利遊客到此一遊。

Ever since, relations between Austria and Hong Kong have deepened and broadened.

People-to-people contacts are flourishing.

Some 220 companies are located in the region - representing an increase of over 115% since 2008! - and around 700 Austrians live and work in Hong Kong– the largest Austrian expatriate 4

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Forewords 羅諾德博士 香港大學美術博物館

Dr. Florian Knothe, Director, University Museum and Art Gallery, the University of Hong Kong The University Museum and Art Gallery is pleased to collaborate with the Austrian Consul General, Dr Claudia Reinprecht, and the Embassy of the Arts, represented by Professor Karel Dudesek and Mr Lukas Birk, to display Refuse the Shadows of the Past: Five Years of Austrian Art Made in China. This contemporary art exhibition celebrates five years of art and culture sponsorship by the Austrian government that allowed Austrian and other artists to live and work in the East.

Since the first notable group of western artists came to China during the early Qing Dynasty, both artist communities in the East and West have benefited from cultural cross pollination.

Today, when Chinese manufacturing and exports disseminate consumer goods—often without artistic merits—to the entire world, the handmade, philosophical and often personal and contemplated artefacts which were once integral to China’s culture play a smaller role. In this changing society, the value of artist exchange and residency programmes cannot be praised enough, as they give access to the spontaneous, often mundane and vernacular art production with a focus on locally sourced materials and long-practiced traditions. The Austro Sino Arts Programme supports Western artists—twenty-seven of which now participate in this unique and new to Hong Kong exhibition—who experienced Chinese art and culture, and created artworks that are both complimentary and provocative. Whether socially or politically inclined or influenced by deep-rooted artisan traditions and materials in China, artists in this successful course immerse themselves and they produce art forms that are hybrid in character and indicative of their encounter with the East.

texts, and invites the public to react and to comment. Together they portrait ordinary rituals, advertising and propaganda, that colour daily life in China and they document the way onlookers sympathise or disengage.

Following more traditional techniques, Roswitha Weingrill (b. 1984) and Tina Hochkogler (b. 1967) make collages, drawings and graphics, engaging with individualism and globalisation, while, in photographs of, among other consumer waste, voluptuous installations with discarded plastic bottles; Andrea Witzmann (b. 1970), draws attention to the habits and shortcomings of modern-day society. However different in iconography and diverse in techniques, the ‘still-lives’ presented offer insights all participating artists gained during their tenure in the East.

This display of ‘Five Years of Austrian Art Made in China’ offers a glimpse into both past and present as it juxtaposes artistic customs and cultural phenomena of a bygone era in reinterpreted, modern form with the public reception they receive today. It marks a timely record not just of outsiders’ views into China, but the more critical engagement of citizens and their environment in a better-informed society there.

香港大學美術博物館很榮幸能與奧大利駐港總領事 任珮雅女士，藝術使館兩位策展人Karel Dudesek教 授與Lukas Birk先生，共同策劃“擺脫過去：中國創 作的奧地利藝術五年展”。此次的當代藝術展是為 了慶祝奧大利政府五年來對藝術文化的贊助，一些 奧地利人與其他歐裔藝術家因這項支持，而得以在 東方工作生活。 自清代早期第一批顯要的西方藝術家來到中國，東 方與西方的藝術團體得益於彼此在文化上的交融。 如今，當中國的製造業與外銷品普及到消費品時– 它們通常不具價值–對整個世界而言，這些可以較 具抽象性質及個人化的手工製品、往往只在中國藝 術的範疇中扮演不起眼的角色。在這個變化多端的 社會，藝術駐場交流企劃的重要性，正因其自發性 而被忽視。此種自發性，常不期然地來自世俗化且 著重利用原地素材和慣性久存的藝術生產。奧地利 中國藝術項目對西方藝術家的支持，即現於香港嶄 新登場的二十七名藝術家，呈現他們體驗過的中國 文化藝術和創作伴有挑釁意味卻被稱揚的作品。無 論是社會還是政治意味，又或者曾否受到工藝傳統 素材上某些根深蒂固的影響，藝術家在邁向成功進 程中所開啟和生產的藝術形式，不僅具備環境交融 的特徵，還透露他們在東方的生活氣息。 在這當中，尤以重新詮釋來自每日稍縱即逝的短暫 訊息讓人尋味。其中如安同‧皮茲（生於一九六二

年）的《斡旋》，是標語和海報牆，也是路人反應 的全紀錄。有鑒於羅魯‧馬耶（生於一九七六年） 陳列的《大字報》，以西方元素加上幾近胡說八道 的文字，向公眾進行邀請參與和審評。這些藝術 家會披露一些尋常的老規矩，可以是廣告和政治宣 傳，猶如彩色化的中國生活寫照，將旁觀者同情悲 憫與孑然一身的態度進行歸檔。隨著更多傳統技 巧，羅絲維塔‧瓦恩格利爾（生於一九八四年）及 蒂娜‧希科格勒（生於一九六七年）創作了結合個 人主義及全球化風格的剪貼、素描與製圖。與此同 時，正如照片中以廢棄塑膠瓶之類的生活垃圾所搭 出的性感裝置藝術，安德利亞‧維茲曼（生於一九 七零年）則從現今社會的短處和習慣來引起人們的 注意。然而，圖象技法上的異同，也使得所謂的“ 靜物”展現出藝術家在東方生活時所具備的洞察 力。 是次展覽，為過往至今五年間在中國創作的奧地利 藝術提供一瞥，其中因時光催化所表達的藝術習慣 與文化現象，正是當今觀眾對週遭一切所進行的反 思。這不僅是局外人中國觀的全紀錄，而是更多人 民在及其置身資訊發達之地所作出的批判性承諾。 博物館感謝這些合作伙伴，沒有他們便無法成就這 個大型創新的展覽。而博物館亦邀請公眾向這個在 中國舉辦的國際藝術家駐場計劃的豐碩成果進行互 動欣賞及學習。

We thank our collaborators without whom this large and innovative exhibition would not have been possible and invite the public to enjoy, study and interact with the fruitful outcome of an international artist residency programme in China.

Particularly interesting are the re-interpretations of the ephemera seen in everyday life.

Among others, Anton Petz (b. 1962) creates Interventions, placards and poster walls, and records by-passers reactions, whereas Ralo Mayer (b. 1976) writes ‘Dazibao’, or banners, displaying his own, Western, near nonsense 6

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Forewords Mag. Gudrun Schreiber, The Arts Division of the Federal Chancellery of Austria – Department II/1 Visual Arts, Architecture, Design, Fashion, Photography, New Media Austria Already many years ago the Arts Division of the Federal Chancellery of Austria realized the importance of internationalization and networking for contemporary artists. Hence, the Department rented studios already in the early 1980s, first in Rome and Paris, to offer artists in the fields of fine arts, photography and video art / new media the opportunity to work abroad. Today, the Department II/1 is managing 17 studios in twelve cities all over the world: New York City, Chicago, Vancouver, London, Paris, Beijing, Shanghai, Tokyo, Cesky Krumlov, Mexiko City, Rome, Istanbul… Of course, an important aspect in the selection of the cities for studios is good, longer-term cultural co-operation with the countries in question. Hence, our co-operation with China is also reflected in the number of studio sites.

We also aim at broadening the programme in the longer term and at offering sites in interesting cities.

Every year, all the studios are allocated to artists in a public call procedure in line with the recommendations made by an independent external jury. The artists do not only receive a place where they can live and work abroad but also a monthly grant that is to secure their livelihood and cover their travel expenses.

The duration of the stay at a studio may range from three to six months. Some studios are associated with cultural organisations where the artists may participate in a varied programme including, for example, exhibitions or visits of curators and art critics.

奥地利联邦政府的工作室 奥地利联邦大使馆艺术部 - II/1部

The stays abroad offer manifold opportunities: the opportunity to discover a new, foreign culture and to explore new perspectives, to develop one’s personality and to produce art in interaction with an unknown environment, the opportunity to meet people, to make new friends, to maintain a network of artists and cultural workers and to find new interesting galleries, curators and museums.

Definitely, we are more than satisfied with the results of our efforts in this field and we are very pleased that we receive predominantly positive feedback from the artists!

We very much welcome the initiative of Mr. Lukas Birk and Mr. Karel Dudesek to organise an exhibition programme in China presenting, the artists who have lived and worked in China, most of them stayed in one of the studios of the Federal Chancellery!

很多年以前，奥地利联邦大使馆艺术部就意识到了 国际化以及为当代艺术家们建立联系的重要性。 因此，这个部门早在20世纪80年代初就开始租用工 作室，开始是在罗马和巴黎，为艺术，摄影以及录 像艺术/新媒体领域的艺术家们提供出国创作的机 会。如今，这个II/1部管理着17个遍布世界各地工 作室：纽约，芝加哥，温哥华，伦敦，巴黎，北 京，上海，东京，克鲁姆洛夫，墨西哥城，罗马， 伊斯坦布尔等等。当然，选择工作室所在的城市最 重要的一方面是要考虑有良好且长期的文化合作的 城市。这一点，从我们和中国的合作的几个工作室 的地点也可以反映出来。我们的目标同样是扩展长 期的项目，并提供不同城市中有意思的地点 每一年，所有的工作室通过发布公开招募，并由外 部评审团推荐选拔，最终分配给艺术家们。这些艺 术家不仅会得到一个在国外生活和创作的场所，同 时还会得到每月的赞助以保证他们的生活及旅行开 支。在工作室驻留的时间从3到6个月不等。一些工 作室会和文化机构有联系，因此艺术家可以参与到 各式各样的项目中，包括展览，会见策展人和批评 家。

国外的驻留为艺术家们提供了多方面的机会：发现 新的外国的文化的机会，探索新视角的机会，发展 艺术家个性以及在与未知的环境互动中创作的机 会，与人们会面，找到新朋友的机会，维护艺术家 和文化工作者关系，遇到新的有意思的画廊、策展 人，博物馆的机会。 毋庸置疑，我们对于在这个领域所作出努力的结果 非常满意。我们非常高兴地从艺术家们那里收到了 显著的正面反馈！ 我们非常欢迎Lukas先生和Karel先生在中国发起一 个展览，以展示这些曾在中国生活和创作的艺术家 们，其中大部分人都曾在联邦大使馆的工作室驻留 过！ 视觉艺术，建筑，设计，时尚，摄影，新媒体

奥地利的艺术家们对这个外国工作室项目非常感 兴趣。每年II/1部门都可以为50位艺术家提供工作 室，每年将近有1000为艺术家申请这些工作室。 从这个项目开始至今，II/1部门已经资助了约1100 位艺术家在外国驻留。

Austrian artists are highly interested in this foreign studio programme. Every year, the Department II/1 can make available studios to around 50 artists, and every year about one thousand artists apply for residencies in these studios.

Since the beginning of the program, the Department II/1 has been providing and financing approx. 1100 residencies abroad.

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Franz Amann Happy Valley

Allan Au Faces and facades

It is as though I were bound to be this way, seeing the new in the old and this is perhaps the reason that I so reluctantly leave. I am dying here, I see this of course, and yet, I must, it seems, breathe under the sky of my homeland, to live at all. It is true that I enjoy little respect. I am considered dissolute but this doesn’t bother me in the slightest. am still here and will most likely remain here. It is so sweet to stay. Does nature go abroad? Do trees move to find greener leaves elsewhere only to return home to brag about where they have been? (The Tanners, R. Walser)

似乎我註定這樣 ,不願離開 ,或許是因為我常常從舊物中探尋新知。我看見我在這裏奄奄一息 ,當然 ,可 是 ,我必須 ,仿佛在故鄉的天空下呼吸 ,活在那裏。的確 ,我被輕視 ,被認為放蕩不羈 ,但我絲毫沒有在意 過。我還是留在這兒將會一直留在這裏,。留下是如此甜蜜。難道自然會跨入另一國度？難道樹木為 了更新的葉子曾尋訪過的土壤僅僅是為了返鄉時來炫耀一番？（唐納一家 ,瓦澤爾 · 羅伯特） 10

Faces change, faces and façade, faces are the dominant and iconic selling point in advertisement.

Smiles today followed by icons in Mobile communication show mood and emotionality.

面孔会变化，面孔与外表都会变化，而面孔在广告中又是主导性和符号性的卖点。微笑通过符号化的 表现，在移动平台的交流中被用以表达情绪和情感。观众被随机地捕捉并带上面具。 11

Lukas Birk

Hannes Böck

China DiarYspora

New Hefei

New Hefei is set in Hefei, the political and economic centre of the eastern Chinese province of Anhui. This densely populated university and industrial city, which was an important crossroads even in antiquity, has undergone rapid change over the past few years, transforming from one of the country’s poorest regions into a special economic zone. This climate of social and urban growth and change is what Böck chose for his film. Calm black-and-white images show a boy crossing the city, to its edge and on into the new suburbs. This excursion is reminiscent of the flaneur motif: an allegory for the subject, modern but no longer bourgeois, which, cut off from its own tradition, personifies alienation from the world. On the other hand the subject’s relationship with the city entails more than just isolation. Underlined by the movement of the camera, which follows the boy, loses sight of him, then shows him again a moment later, the filmic exploration of a modern urban setting also becomes a subjective, sensuous and in this way robust look at an altered environment. Similarly to BRD (2003) and DDR (2005), two filmic stock takings of the Modern age in postwar Germany, New Hefei too is a concentrated look at architectures. In this case however Böck employs a film grammar which quotes the visual style of Neo realism, especially that of Antonioni, even in individual shots. The boy’s apparently directionless movement follows a precisely planned sequence of “pre framed” shots, which creates a historical parallel between present-day China and Germany’s economic miracle of the 1960s.

Fades to black, which in Antonioni’s case mark the spots where action begins, structure the film formally and also pose a question concerning a narrative that can be found behind the images, apart from pure representation. (Rike Frank)

China DiarYspora are collages and objects composed of old books, Polaroids, pieces or prose and materials collected during my time living in China. Each objects renders a feeling towards a place or situation from memorable encounters that have left a mark worth composing into an object.

China DiarYspora 是用我在中国生活期间收集的旧书、宝丽来照片、碎片、散文和一些材料构成的拼 贴画和物件。每一个作品都呈现出记忆中与某个地点或某个场景的邂逅而留下的价值的印记，而这些 印记也被压缩到作品中。 12

《新合肥》的背景是合肥这一安徽省的政治和经济中心。合肥自古代即为交通要道，今日是一人口密集、大学遍 布的工业城市。过去几年里，合肥发生了迅速的变化，从全国最贫穷的区域之一变成了经济特区。波克的录像正 是以这一社会 / 城市的增长与变化为背景。我们看到冷静的黑白画面里，一个小男孩穿越城市，来到新郊区。这 一段路途让人想起了「城市漫游者」的母题：这是关于该主角的寓言，他已然走入现代，但不再是布尔乔亚，传 统被割裂之后，他成了被世界异化的人物。另一方面，该主角和城市的关系并非只有简单的疏离。摄影机的运动 追踪着男孩，男孩随即消失在镜头中，过了一会又复出现。作者用胶片对现代都市进行的探索提供了对改变了的 环境的一种主观、感官、强有力的审视。与 2003 年的《BRD》以及 2005 年的《DDR》――波克用影像对战后德国 的现代社会所做的观察――一样，《新合肥》也对建筑进行了集中凝视。不过，波克这回借用了新现实主义的视 觉语法（尤其是安东尼奥尼），这即便是在单独的镜头当中都十分明显。片中，男孩显然处于一种没有方向的游 荡状态，但波克在此之前安排了一系列经过精心设计的「预帧」镜头，在今日的中国与 1960 年代德国的经济奇迹 之间找到了对应。影片最后淡出至黑场，这在安东尼奥尼的影片里通常意味着有事将要发生，在这里，它在形式 上框定了整部影片，并令影像超越了纯粹的再现，营造了叙事，提出了问题。（文：莱克·法兰克；英译：史蒂 夫·怀德） 13

Karel Dudesek Digital readymades

Maybe the Rent Collection Courtyard, a sculptural assembly, is hated and admired around China. Several times, Chinese contemporary artists used the theme for their work, like Cai Guo Qiang or Li Zhanyang. Basically, the original sculpture assembly consisting of 114 life-sized clay sculptures created around 1965 shows a cruel landlord collecting rent from poor peasants, their suffering and pain. In my opinion, the same story is repeating itself in our times, but in a different way. Land is taken away from the farmers and the farmers are put in shoe box-like apartments in newly built skyscrapers, directed to not work on their own farms anymore but in factories. Today, this is a common strategy in China’s provinces to make money and show profitability to the central government. Seen in the wider social context of the fact that the only time spent outside of factories is predominantly spent in shopping malls, this created the role model of Meimei Guo, a girl living between expensive handbags and more expensive cars; rumor says that Meimei received the money for her Maserati and Lamborghini from subverted Red Cross donations bosses. In today’s China “blink” is a desirable formal achievement. This in my mind, I came across an old documentary movie of “The Rent Collection Courtyard” on the Internet. Watching the movie, fashion advertisement popped up automatically around the video. This was a perfect digital readymade for me bridging the not so old China and the new China, both unaware of each other, how they blend together and actually showing blatantly the ongoing “Rent Collection Courtyard” collection process.

也许收租院这组雕塑让中国人爱恨交加。中国当代艺术家经常用这个作为他们的创作主题，比如说蔡国强或李 占洋。一组1965年创作的约114个真人大小的泥塑群雕展现了一个冷酷无情的地主向贫困农民收租的场景。在 我看来，同样的故事在我们这个时代正在以另一种方式重演。从农民手中拿走土地，让他们住进新建摩天大厦 像鞋盒一样的公寓里，导致他们不能再在他们的土地上劳作而是进入工厂。今天，在中国各省这是一种常见的 向中央政府显示赚钱和盈利能力的策略。在更广泛的社会背景下，工厂之外的时间主要花费在商场，这创造了 像郭美美这样的角色，一个被昂贵的手袋和更昂贵的汽车围绕的女孩。传言说，美美的玛莎拉蒂和兰博基尼用 的是被颠覆形象的红十字会老板的钱。在今天的中国“眨眼”是一个理想的正式成果。我的脑海中闪现出一个 在互联网上流传的老纪录片“收租院”。看电影的时候，时装广告自动弹出围绕视频。这是一个完美的数字化 的无意识的现成桥接起不那么旧的中国和新中国。他们是如何融合在一起，堂而皇之地显示正在进行的“收租 院”的进展过程。 14

Sylvia Eckermann & Gerald Nestler Breathe My Air a paradoxical conversation piece

Breathe My Air is a cinematic cross-cultural exchange between artists, filmmakers, curators, philosophers, and poets from China and Europe. Centring on the notions of Utopia, Change and Progress, the 3-channel video assembles critical ideas, individual experiences and anticipations of possible futures reflecting a multiplicity of thoughts and feelings that refute cultural and social stereotypes. Breathe My Air was filmed on locations proposed by the participants in Beijing, Chengdu, Shanghai, Western Sichuan, Northern Yunnan, Krems, Stopfenreuther Au and Vienna.

“呼吸我的空气”是一个建立于中国和欧洲的艺术家、电影制作人、策展人、哲学家和诗人之间的电影式的跨文 化交流。以乌托邦、变化和进步为中心，通过3屏录像，组合了批评思想，个体经验和对未来可能性的预期，折 射出反对文化和社会成见的思想，以及情感的多样性。“呼吸我的空气”的拍摄是根据参与者的提议在北京、成 都、上海、四川西部、云南北部、克雷姆斯、汉堡和维也纳进行的。 Particpants / 参加者 Europe / 欧洲：: Thomas Feuerstein, artist/ Brigitte Podgorschek, artist/ Wolfgang Prinzgau, artist/ Axel Stockburger, artist, theorist/ Cornelia Offergeld, art historian, curator/ Michael Hoepfner, artist/ Oliver Grau, media art historian/ Wendy Coones, art historian/ Oliver Irschitz, architect, designer/ Wolf-Guenter Thiel, art historian, curator/ Jasmin Ladenhaufen, fashion designer/ Karel Dudesek, artist China / 中国: Cao Ke Fei, theatre maker, director/ Li Zhenhua, curator, media artist/ Yu Qiong, documentary filmmaker/ Xing Danwen, artist, photographer/ Qiu Zhijie, artist/ Miao Xiaochun, artist/ Li Shi, curator Renia Ho, artist/ Wong Wei, artist/ Pauline Yao, art historian, curator/ Zhao Tingyang, philosopher/ Tony Liang Fu, curator, art critic/ Xi Chuan, poet, writer/ Ou Ning, artist, editor/ Zhang Wei, gallery owner.

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Georg Frauenschuh Kriterienverlust

Excerpt from a manifesto written in 2012: (...) V. DEMOCRACY is of an imprecise nature. The unity of its conflicting details forms its center, and this center is uninhabited: a flat area and an area of attributions at best. In contrast, every other political system is in principle of a precise nature. Orient yourself on imprecise natures!

VI. PRIVACY takes as its foundation the public sphere, just as unique expression presupposes generic expression. Consider: Your secret society is no more than a public concession to your privacy: The essence (of your secret society) is of proven design, its contents were always addressed to someone outside. Demand the reestablishment of your private system or withdraw into the public sphere!

2012年书写的宣言的部分摘录： （……）5. 民主具有不准确的性质，其细节上的矛盾性形成了它的中心，一个无人区的中心：一块平坦的区域和具有最好归 属的区域。相比之下，其它所有的政治制度具有准确的性质。为自己不准确的本质定位！ 4. 隐私其作为公共领域的基础，正如特立独行的表达预示着公众的表达。试想：你的秘密无非只是公众对你隐私的 让步：你秘密的本质是经过验证的设计，它的内容总是指向外界的某个人。我们需要个人私人领域的重建和公共 领域的撤出！ 16

Tina Hochkogler It doesn’t matter

A typical expression such as „it doesn’t matter“, „it is not relevant“, „it bears no relation“ is the point of departure for my series of portraits of old toy figures once produced in China. They found their way to us, intended to accompany us and become our friends of many years. They were also messengers who freed our minds to travel to distant lands. At some point, they are forgotten or rediscovered. They continue their lives without us. Parts of their story will always remain unknown to us: Their past lives and the ones they will go on to live. They sometimes end up in the trash. But sometimes these figures outlive us. „It doesn’t matter „ – it’s an irrelevant life. On my last trip to Beijing I noticed that vendors selling these products have an incredibly careful and respectful way of handling them, as if they were endowed with some special form of dignity. It’s conceivable that this gesture is not an expression of loving care but of business acumen. Either way, it’s about values, about mass-produced small things that are intended to acquire traits of individuality for someone. This portrait series shows that all toys acquire a patinated character. And I want to let them send home greeting cards from the places their migration has led them. Writing home from somewhere or even nowhere, they reveal parts of their stories, which, unlike our own, can span many biographies and generations. This narrative is inherently fictitious because, with every life and era they enter, they are cut off from their past and become the subject of new interpretations.

一种典型的表达如“没关系”，“无关紧要”，“没什么联系”是我在中国创作的这个关于旧玩具人物肖像 作品的出发点。他们通过某种方式来到我们身边，并试图陪伴我们，和我们成为多年的朋友。他们也是送信 人，让我们放开思想，旅行去遥远的地方。突然有一天，他们被遗忘了或者被再次发现。他们继续着没有我 们的生活。对于我们来说，他们总有一些我们不知道的故事：他们过去的生活，以及他们以后要跟随的那个 人。他们有时也被直接扔进垃圾桶。但有时候这些人物比我们活得更长。“没关系”——这是一个不相干的 生命。在我上一次去北京的路上，我注意到贩卖这些产品的小贩以非常小心和尊敬的方式在打理他们。就好 像他们被赋予了一些高贵的形式。可以想象得到这种姿势并不是爱和关心的表达，而只是一种经商的聪明。 或者说，这和价值有关，和大量生产的小商品对于一些人来说需要个体的特征有关。这组系列肖像作品表现 了所有玩具都获得了一种斑驳的特征。我想他们可以从迁徙的地方向家里寄出一张问候的卡片。从某个地方 甚至无名之地给家里写一张卡片。他们揭露着他们的一部分故事，这些故事和我们的不同，是无法续接的简 历和世代。这段叙事有着天生的虚构性。因为每一次进入一个生命或年代，他们都被迫和从前隔断并成为全 新阐释中的主题。 17

Anna Hofbauer

Jan Krogsgaard & Thomas Weber Carlsen

Trümmer

Voices of Khmer Rouge

Trumm Truemmer Chunk Chunks

Clay Falls On the ground Together Not A – part 数据 数据块 黏土 陨石 在地上 一起 不是 一部分

Anna Hofbauer’s recent clay works don’t know about a potter’s wheel nor any refined tools or techniques of ceramic production. A Trumm comes into shape by throwing, slapping or rolling a lump of wet clay. It’s beneficial that wet clay falls together – not a part, when you throw it on the ground. A question of timing.

Archaeology is a fantastic science. Every new generation of archaeologists meets with unearthed unnamed objects of a flexible past. Ideas and interpretations about these objects mirror issues of present discourses. By describing and interpreting we wind up in linguistics. A story in flux.

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“Voices of Khmer Rouge” is a 43-hour-long media installation containing 30 personal narratives by former low ranking Khmer Rouge cadres about their lives, thoughts, ideologies, human values, feelings, actions, and experiences during the 33-year-long civil war in Cambodia and up to this day. The work consists of 30 monitors, one for each narrative. The “Voices of Khmer Rouge” project is placed in the cross-field between art, media theory, history, and information. It has historical as well as contemporary relevance. Implicit in the work is the more theoretical aspect of communication as such, represented by the volume and character of the work. By placing such a document in art museums, a cross reference will spontaneously occur between the project as a document and the project as a work of art, and several leads could be

Art is a fantastic practice.

followed from there depending on the individual receiver.

Anna Hofbauer 最近的黏土作品没有使用陶艺轮盘，也没使用任何与陶艺有关的精巧工具或是技法。一个 Trumm的形状是通过摔打或翻滚一块湿粘土来塑造的。湿粘土的优点是当你把它摔到地上，它总会粘在一起 而不是摔成几块。只要把握好时机。 考古学是一门神奇的科学。每一批新生代的考古学家都会遇到被发掘出的未命名的东西，连接着一段曲折的 过去。关于这些物品的想法和阐释折射了当下的论述。我们因描述和阐释而被语言所束缚。一个变迁中的故 事。 艺术是一种神奇的实践。

“红色高棉之声”是一个长43小时的媒体装置，包含了30位前红色高棉的基层干部的讲述，讲述他们在 长达33年的柬埔寨内战中的的生活、思想、意识形态、人生价值、感觉、行动和经验。每一份叙述都会 在独立的监视屏中出现，30个监视屏组成了这部作品。“红色高棉之声”计划定位在艺术、传媒理论、 历史和信息的交叉领域。它有历史性和现实相关性。隐含在作品中的是由作品的音量和特点所代表的传 播中更为理论的方面。通过把这样的文献放置在美术馆中，一种自发的相互对照将发生在作为文献的项 目和作为艺术作品的项目之间。取决于个体接收者，一些线索将从此展开。 19

Heimo Lattner

Johann Neumeister

The Last Picture (afterthought)

Gerkan, Scheeren, Speer

Johann Neumeister’s short film “Gerkan, Scheeren, Speer“ (2009, HD-Video, 20 min.) explores the relationship between contemporary architecture and society in today’s China. At first glance the camera follows two young protagonists, Kate and Ricky, moving through the exhilarating scenery of Beijing, accompanied by a voice-over - Hun Fang reading the short story “Face People“ by the artist Chu Yun - and electronic music by the composer Wang Fan.

During his residency in Peking Lattner researched the contemporary history of China based on the latest scholarly research. He took extensive walks through the city engaging with the “general public” in order to trace the actual manifestations of the reform process since 1989. The works in the exhibition include a hand-draw map on which the various steps and historical events are indicated and linked. Another work resulted from his engagement with a small community facing eviction from their homes due to massive urban renewal in pre-Olympia Peking.

拉特纳在北京驻地创作期间研读了中国当代史的最新学术成果。他花了很多时间在城中到处行走，试图 与民众接触并了解 1989 年以来的改革在实际层面的影响。本次展览中的作品包括一幅手绘图，图中标明 了中国改革的各个步骤以及历史事件，并用线连在一起。另外一件作品源自拉特纳和一个因为奥运工程 被拆迁的小社区交流的经历。 20

The film is structured in three parts; the first and shortest one is showing only Kate in the morning, the second one Kate as well as Ricky in the afternoon, while the third and longest part only Ricky at night. The protagonists never meet or interact which each other and appear mute; they don’t speak. By contrast the non-chronological, repetitive narration of some sort of uncanny love story is being read to the viewer. The overall coherence between text and image remains mysterious and open for interpretation.

约翰·纽梅斯特的短片《格肯，舍人，斯辟尔》（2009，高清，20 分钟）探究的是当代建筑与中国社会的 关系。片中两位年轻的主角凯特与里奇穿梭与北京的繁华景象当中，画外音则是胡昉朗读储云的短篇小说 《Face People》辅以王凡的电子音乐。 影片由三部分组成：最短的第一部分展示的是凯特在早晨的活动，第二部分展示凯特与里奇在下午的活 动，最长的第三部分则是关于里奇在晚间的活动。两位主角并未见面交流，在全片中一直保持沉默。观众 听到的则是胡昉反复诵读的一个不以时间顺序进行的怪诞爱情故事。文本和影像之间的关系保持了一种谜 一般的状态，观众可以自行阐释。 21

Moritz Neumüller

Thomas Pakull Schattenbilder

German is art-language

German is art-language. The (un)translatable of Ernst Jandls poetry.

Havana, Cuba. The home of Francisco Diaz. Francisco is a translator who has become an Ernst Jandl specialist. He began his career, however, as mandated translator for the Cuban government. With a travel grant Francisco arrives in Vienna. Here he is received by freezing temperatures. Bundled in jackets and with a red nose thus begins his Jandl research on location. Francisco got to know Ernst Jandl several years ago and during a short conversation with him proposed translating his poems into Spanish. Jandl liked the idea but his sudden death closed the first chapter of their author-translator- relationship. In his second visit, Francisco turns to friends and associates who could help him get to know the ingenious Jandl and his world.

古巴，哈瓦那，弗朗西斯科·迪亚兹的故乡。弗朗西斯科是一位恩斯特·杨德尔（奥地利著名诗人和 剧作家，生于1925年）专家兼翻译家。但他是作为一名古巴政府指定翻译开始他职业生涯的。身揣他人 赞助的盘缠，他来到了维也纳。而这儿寒冷的天气给他来了个下马威。一件夹克裹身，鼻子被冻得通 红，他就这样开始了在恩斯特·杨德尔之乡的考察。弗朗西斯科几年前认识了杨德尔，在一次简短的 谈话中，他提议要将杨德尔的诗翻译成西班牙语。杨德尔相当赞成这个想法，而他的突然离世使这段 译作关系在第一阶段就嘎然而止。这一次，弗朗西斯科便着力寻找那些朋友和同事，以帮助他了解杨 德尔和他玄妙的个人世界。 22

Schattenbilder (shadow pictures), with the scissors hands. Shadow pictures - from silhouettes -made as silhouettes of history. These silhouettes are chapters or moments that have cast a shadow on history. Cruelties, injustices, incomprehensible and sad. In the reduced form of paper cutting they approach our brain like a barcode and bring back a number of images into our consciousness.

剪影被无数手和剪刀所创造。剪影是一部影子的历史。这些轮廓是一个时期或时刻在历史上投下的影子。 残酷、不公正、不可思议以及悲伤。通过简化的剪纸形式，他们就像是条形码一样触及着我们的大脑，并 将一系列图像带入到我们的意识。 23

Rainer Prohaska

Anton Petz Aquarelle

San Lun Che

When Rainer Prohaska arrived the first time in Beijing, he was impressed by the structure of the city and the charming style of its residents. For the concept called ‘Enter Beijing’, a communication method was adapted, which was established a year before on a trip on the river Danube.

How this worked: ‘San Lun Che’ is the name for typical Chinese three-wheel-cargo-bikes, which was used for a two month trip across the city-area of Beijing. During this journey, the vehicle was expanded, got larger and absorbed materials and objects which were discovered during transit. The bike mutated into a collage and into a media, which alters communications and situational circumstances. During this journey, Prohaska created several different versions of ‘Sun Lun Che’. In spring 2010 a car workshop was installed at the ‘798 art district’ in Beijing. Different materials and technologies were used, to build several ‘San Lun Che’-trucks in diverse aesthetic and dimension.

Opened on July 24, 2010, ‘ANNI ART Gallery’ showed these vehicles.

During the two months of my Beijing studio residence at Huantie Art Museum I developed different series of paperworks. In oposite to the huge acrylic paintings, in which I usualy present social and political topics by using images of human crowds like demonsrations and images of the New York Stock Exchange, the paperworks show just one single person mostly chinese children complemented by short text messages. Phrases like „wih out me „ and „ first step first“ may deal with the object of design but correspond with the viewer aswell.

在环铁时代美术馆北京的工作室驻留的两个月里。我创作了几个不同系列的纸上作品。对比我之前的大尺 寸丙烯画，我在其中通过对人群聚集的图像，例如游行、纽约股市等场景来表现社会和政治的主题。而这 些纸本作品里，我只表现了单个的人，并附上一些文字，大部分人为中国的儿童。“with out me”和“First step first”这样的短语或许和设计的客体有关，但同样适用于观者。 24

当Rainer Prohaska第一次到北京的时候，他被这个城市的结构和居民迷人风格所感染。基于“进入北京”的概 念，一种交流的模式被引入。这个模式产生于一年前在多瑙河上的一次旅行。 它是这样发生的： “三轮车”是中国特有的三轮自行车的名字。它是我们为期两个月的旅行，穿越北京城区所用的工具。在旅 途中，这个车子被扩展，变得更大，吸纳了途中发现的各种材料和物件。这个自行车变成了一个拼接，一个 媒介，改变着交流和形成的环境。在旅途中，Prohaska创作了几个不同版本的改装三轮车。作为逻辑性的推 论，这个展览的形式应该是来自于著名的国际汽车沙龙的风格（法兰克福的“IAA”，以及巴黎的“Mondiale d’Automobile’）。2010年春天，一个汽车工作坊在北京798艺术举办。运用不同的方式和材料从美学和空间 的角度来改装三轮车。2010年7月24日，“ANNI ART Gallery”展示了这些车辆，结构图纸以及摄影。 抽象的车辆充当了记录性的物体，并且艺术性地促进了在各自国家里的艺术和人之间的交流。 25

Ralo Mayer

Ida & Bianca Regl disco

I have no idea about this place but I am going to promote it

In 2008 the magazine of the German Max Planck Research Institute wanted some traditional Chinese calligraphy as nice decoration for its focus on China and published 5,000 copies with a cover that featured an advertisement for a brothel. Indeed one fabulous example of an idiotic Western fable for the “exotic Oriental touch,” and a great intro for this work. Thank you!

2008年德国马克斯普朗克 研究院出版的一期有关中国的杂志封面需要用一些传统的中国书法加以点缀，却 发行了5000册封面印着妓院宣传语的杂志，简直成了荒唐诠释“异国情调”的西方寓言。谢谢！ 26

Somehow sometime I also wanted to become a painter. It was my first time working with oil color, and I thought it was pretty interesting. I have always loved mixing color down into its finest nuances, yet I never expected to learn as much I did making those works. The most beautiful aspect though was collaborating with my daughter.

有时候我也想成为一位画家。我第一次接触油画颜料，我觉得它很有意思。我总是喜欢将颜料调和出 它最细微的差别，然而我也没想到在我真的创作这些作品时学到了那么多。其中最美妙的一面是和我 女儿合作。 27

Audrey Salmon W(H)ǑMÉN

Audrey’s Salmon W(h)omen video installation engages with memories and personal stories of 9 Chinese women across Chinese society today. The women age 20 to 73 consist of a designer, actress, consultant, teacher, prostitutes, real-estate agent, judge and street sweeper. Through informal questions concerning their childhood, femininity and social influences those individual stories in a certain way become the whisper of Chinese recent history. By emphasising on the essential organ of communication Audrey reveals an unexpected intimacy, challenging usual perception through anonymous faces.

Audrey的录像装置涉及了贯穿当今中国社会的9位女性的记忆和个人故事。这些女性的年龄从20到73岁，包括 设计师，演员，顾问，教师，妓女，地产代理，裁判，以及道路清洁工。通过非正式的提问，涉及他们的童 年，女人本性，以及社会影响。这些个人的故事在某种程度上成为了中国近期历史的传言。在强调交流的本质 中，Audrey展现出了意外的隐私，通过匿名的面孔质疑了惯常的认知。 28

Christian Schwarzwald PARTITUR:MAKULATUR

PARTITUR:MAKULATUR was conceived to tie the problem of the relationship between music and image back to the concrete questions of their mutual translatability. Rather than striving for the intensity and enveloping immediate presence of music’s acoustic means, the picture presents itself as a sort of notation. A board wall was set against the wall of the exhibition space so that visitors entering from the stairwell first saw its back. Mounted on it were drawings of various motifs, their arrangement suggesting that they can be read left to right, in analogy with linear writing. Two rows of moiré patterns in black and blue with upward and downward deviations denote a sort of bass line; heads and paint spills serve as note heads, pieces of ladder scattered between them as scales. The question of the translation between sound and image is thus related in illustrative fashion to the unspectacular technique of notation. What comes into play as a common denominator of music and the visual arts is the question of translation and transformation itself. Just as electronic music manipulates original material given in the form of an electronic file, distorting and resampling it, the visual arts likewise feed existing visual materials into a multistage production process: repetition, defamiliarization, seriality, the detection of harmonies and sequences, the variation of motifs, etc., are strategies the visual arts and music share on the level of their technical processes. This is not to say that the work aims to assimilate one to the other in terms of their reception aesthetic effects; rather, it examines real analogies in the processes of the production of imagery and music.

旨在将音乐与图像的关系回归到转译上，我酝酿了这件作品。并非追求紧张感或捕捉即兴声乐的存在感，而 是让图片作为一个符号来呈现自己。一面墙板直立安装在展场的墙上，于是从楼梯间进入的观众可以首先看 到墙背面。各种各样的装饰图案置于其上，用线形类推暗示着从左到右的阅读方向。两排黑蓝上下相间的云 纹表示一种低音线，颜料像符头一样倾洒，碎片状的梯阶散落其间当作音阶。声音与图像之间的互译就这 样，从言说变成了朴实的符号技法。音乐与视觉艺术的共同特性，则是转译和变换本身。正如电子乐将取自 源电子文件中的材料加以操作，视觉艺术也将现有的可视材料进行多重加工：重复、陌生化、连续化、和谐 化、序列化、图案变异等等，都是视觉艺术和音乐共通的技术战略。这并不是说，这项工作旨在接连同化每 个物件的接收美学效应，而是检验图像和音乐的生产过程中真实的类比.

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Heimo Wallner

Bernhard Staudinger

Mao Tse Tung, Ausgewählte Werke, Band II

Sichuan

A small group of young children is playing in a garden. It is not really clear, where we are. What appears to be a place somewhere in China becomes a restaurant with luscious garden at second sight. A virtually perfect copy, constructed by architects from China with materials imported from the province Sichuan.

It is a popular meeting place for Austro-Chinese residents and tourists to experience an authentic piece of China abroad.

In a subsequent shot a young woman meets an elder lady inside the restaurant. They tell each other some stories. About home. And about their “new homes”.. Dongnein is a young actress and dancer who was born in Austria. Her story, contrary to Lijuns, is fake. It is made up of dialogue fragments from chinese (and taiwanese) movies, dealing with chinese diaspora. These films are often romantic variations of the theme, others with slightly darker undertones. The difficulties of leaving home for a new life in a foreign country. Su Lijun was born in Shanghai and came with her family to Austria in the 1980ies. Even before they arrived they knew that they will have to work in gastronomy there. A chinese restaurant, where the husband worked as a cook and Lijun as a waitress. The waiter in the video is Mr. Su Hui Kang, Lijuns brother.

He works for the restaurant normally. Gastronomy is a destiny many chinese emigrants share. Pushed into a role that complies with western clichés of an exotic China.

一小群孩子正在花园里玩耍. 我们并不清楚到自己在哪儿。随后出现的是在中国的某个地方，出现了个 拥有美丽花园的餐厅。这个餐厅是一个中国设计师建造的完美复制品，建筑用的材料来自四川省。对 于中奥居民或者游客，这里是一个流行的聚会场所，让他们体验一个真实可信的中国片段。 之后拍摄的是一个年青女人在餐厅里遇到了一位年长的妇女。他们相互告诉彼此故事。有关于家，以 及他们的“新家”。Dongnein是一位出生于奥地利的年轻女演员和舞者。她的故事，相对于丽君一家 来说是虚假的。故事是用几个有关中国侨民的电影中的碎片对话（台湾话）所虚构的。这些电影常常 包含浪漫而多样的主题，其他的则有一点灰暗的潜在含义。有关于离开故乡并在国外展开全新人生的 困难。苏丽君出生于上海，并在20世纪80年代和她的家人来到奥地利。甚至在她到达之前就已经知道 将要在那里以烹饪为生。在一家中国餐馆里，丈夫担任厨师，丽君则担任女服务员。影像中的男服务 员是苏惠康先生，丽君的兄弟。他常常为餐厅工作。餐饮业是许多中国移民的共享行业。它的角色被 逐渐推向一种西方对于中国异国情调的成见。 30

Mao Tse Tung, Ausgewählte Werke, Band II, 35 mm, colour, music: Martin Zrost, 2001 In the late 80ies I got an edition of “Mao Tse Tungs Selected Works” in 5 volumes (printed in 1968 in Beijing in German). And ever since then they are standing in my book shelf challenging me…

2 volumes I have transformed in the meantime. Volume I is a drawing book and volume II is an animation movie - 3 more are waiting. It is a project that stretches over a long period of time.

In a way it is my struggle to make sense of something so clearly written, so easily understood, so linear, so horrifyingly consequential! I consider myself very much as a political being and clearly a political being of the left and it is astounding to me how the human animal continously manages to screw up in the biggest possible ways (often with the best intentions). I don’t think that my work is political first and foremost - it is more a visceral response to what I encounter, using stupidity (or to tone it down a bit: the disability to grasp the complex chain of cause and effects) to probe the world.

毛泽东选集，II带，35毫米 ，音乐：马丁·左思特，2001年 八十年代末时我有一套5卷的《毛泽东选集》（北京和德国的1968版）。从那时起，就立在书架里挑战我... 目前我转译了2卷。第I卷“是一个绘本，第二卷是一个动画电影——还有3卷候着。这是一个历时相当长的 作品。 在某种程度上，我要费尽力气才能把一个写得如此清晰，如此通俗，如此有条理，如此令人生畏地重要的东 西弄懂！我认为自己是一个政治生物，还很明显地是非常左的政治生物，而且我也非常吃惊人类总是把最明 了的可能性给搞砸（通常是最好的意图）。我不认为我的作品是政治第一，最重要的 是——它更是我对周遭 的一种本能反应，用笨办法（甚至再降一个等级：残疾人一般去掌握复杂的因果链接）来探测世界。 31

Roswitha Weingrill Looking for someone

Roswitha Weingrill’s work often takes an analytical approach towards the materials she´s working with. Whilst her collages are not immediately attention seeking, they do slowly lure the viewer in.

A big part of her work is dealing with non-academic approaches towards drawing, material and image production in general. Found footage material is used in drawing to explore the possibilities and limitations of this medium. This includes a special interest in information graphics, where data content is being shortened to be displayed more easily. In the depiction of ideas and concepts in

Sylvia Winkler & Stephan Köperl Medicare

Since 1997 we are working together as an artist couple in the field of “urban interventions” which we are realizing in various places around the globe. Our projects usually develop from observations in public space and are elaborated site specifically.

Medicare Along the roads around a village in South-West China we find old medicine boxes. From the names of the medicaments we write a song and perform it in different pharmacies in the nearby city of Lijiang. Video 3´, 2007

general, she´s trying to broaden the narrative possibilities in single drawings.

罗丝维塔·瓦恩格利尔的作品往往带着她的作品运用的材料的分析。虽然她的拼贴都不会立即引 人注意，但这些作品的确将观众逐渐引诱进来。她作品的大部分着力于非学院派的绘画、材质和 普通图像制。绘画当中使用特写镜头素材以探索这种媒介的可能性和局限性。其中包括缩短材料 内容，以便更容易被显示出来了，形成了图像信息中的特殊趣味。简单说来，她的概念就是试图 拓展每幅绘画叙事的可能性。 32

自1997年以来，我们一直以艺术家双人组的身份在世界各地进行“都市介入”，我们的工 作通常来自对公共空间的观察，并且在特定的现场实施。 医疗保险 在中国西南一个村庄的路上，我们发现了些旧药箱。我们写了首歌，歌词从那些药物的名 字中来，并在丽江附近的很多药店演奏了。 3号视频 2007 33

Andrea Witzmann

Gerlind Zeilner

Beijing Punches

Lade

TUE 29.12.2009 OS0063 2FC7OU W 20:15 12:50 Vienna - Beijing WED 30.12.2009 Chrystal Bell and Jenny Lou were awaiting us, Yuan withdrawal, arriving in Beigao, Feijacun, shower and sleep. THUR 31.12.2009 Fireworks, waltz and Taittinger twin pack on New Year’s Eve in the studio. FRI 01.01.2010 Heavy snowfalls, no orientation, taking cabs to every place we wanted to go, even when it was just around the corner. SAT 02.01.2010 Having dinner with the other residents, fully dressed, till the food and we heated up the room.

Drank hot water as a drink for the first time. The dishes were made for european taste buds. I was disappointed.

SUN 03.01.2010 Stayed in the studio. Our blog was blocked. MON 04.01.2010 Minus 20 degrees Celsius. Went to the village for some food. The vegetable woman showed frozen cheeks like the cabbage she sold. Bought eggs, pídàn, peanuts, silk tofu, soy sprouts, string beans, spring onions, chinese chives, red chillies, garlic and fresh yellow noodles.

Got rice, soy sauce, fish sauce, peanut oil, five bottles of Tsingtao and one bottle of Great Wall at the super market, and sand cookies in a shop where a young women, packed like an Eskimo, prepared a very colourful birthday cake. Couldn’t resist eating hot won ton soup and fresh yóutiáo on my way back.... That was the beginning of

the love affair with Beijing.

2009.12.29 周二 OS0063 2FC7OU W 20:15 12:50 维也纳—北京 2009.12.30 周三 克里斯托·贝尔和珍妮·卢正在等我们，取了人民币，到达北皋费家村，洗澡睡觉 2009.12.31 周四 烟火表演，华尔兹，新年前夜在工作室享用双组装的泰坦瑞香槟酒 2010.01.01 周五，下大雪，毫无方向感，去哪儿都打车，有时目的地就在拐角处 2010.01.02 周六，盛装出席与其他居民共进的晚餐，直到食物和我们把屋子暖起来了，第一次把热水当饮品，餐 具是欧式风格，我很失望 2010.01.03 周日，待在工作室，我们的博客被墙了 2010.01.04 周一，零下20℃，去村子里买点吃的，卖蔬菜妇女的脸冻得和她卖的白菜差不多，买了鸡蛋、皮蛋、 花生，豆腐丝，豆芽，菜豆，韭菜，葱，红辣椒，大蒜和新鲜的黄面条。在超市买了大米，豆酱，鱼酱，花生 油，五瓶青岛啤酒和一瓶长城啤酒。在小店里买到了酥饼，那里的妇女们穿得像爱斯基摩人，她们做了个五颜 六色的生日蛋糕。回去的路上，我忍不住吃了热腾腾的馄饨和现炸的油条。 这便是与北京相爱的故事的开端。 34

I went to China without a special plan. Then I was really confused by all these new impressions, ideas and ways that things existed there. But slowly my wish to see China with my own eyes moved to the interest in understanding more the Chinese view of their own country.

So more and more the pictures produced in China about China gained my attention, like you can find them in posters, packages, cartoons, little figures.... These “found images” I reflected in a series of more documentary photographs showing Chinese advertisements; then in a more subjective way in a group of paintings that are inspired by Chinese comic strips; and finally in cardboard-sculptures, in which I integrated several impulses from advertisements and gift-packages and tried to give them a spatial dimension.

我去中国时没有具体的计划，到了之 后，各种各样新奇的感官冲击、概念 以及事物运作的方式令我困 惑。但慢 慢地，我不再执着于用自己的眼睛观 察中国，而是改为试图了解中国人看 待他们自己国家的 方式。 因此，在中国创作的关于中国的作品 日益引起我的注意。你可以在海报、 包装、漫画、小玩偶 上看到它们。我 把这些「现成影像」通过三种方式反 映了出来：一系列纪录式的照片（内 容是中国街 头的广告），受中国漫画 启发的一组相对主观的油画，以及一 套纸板雕塑（把广告里的一些元素和 礼 品包装结合，并为它们增加了空间 维度）。 35

Artist’s curiculum vitae

5 Years Encyclopaedia of Austrian Art Made in China Allan Au Allan Au was born and grew up in Hong Kong who is trained as a software engineer. He possessed Master Degree in Interactive Digital Media from Ravensbourne College of Design and Communication in UK. He has been living and working in London for nearly 10 years and relocated back to Hong Kong recently. Works that he involved have been exhibited in London, Beijing, Linz in Austria, Lausanne in Switzerland, Cario in Egypt and Boston in USA. He is interested in applying technology in an art context. His interest has extended to interactive installation, responsive space, projection mapping, parametric design and 3D printing in recent years.

Over the last 5 years the Austro Sino Arts Program and the Embassy of the Arts have produced an annual catalog with detailed documentation of their programs as well as activities of connected organisation, off-spaces and active individuals.

These catalogs with the works of over 150 artists form an encyclopaedia of foreign art activities within China and its outer-limits. Exhibitions, workshops, video screenings, outdoor installation, mobile tours and other public interventions were only a part of these events. With the celebration of 5 years Austrian Art Made in China the Embassy of the Arts has produced a limited edition box set of all 5 catalogs; Mifan (2009), Dabao (2010), ChuanMen (2011), Left/Right (2012) and Dazibao (2013).

奥中艺术项目和艺术使馆在过去的五年里通过发 行年鉴，详细地记录了他们的各个项目以及同各 合作机构、替代性空间的活动和个人的参与。这 些画册收集了超过150位艺术家的作品，囊括了在 中国进行的比百科全书还丰富的外国艺术活动。 展览、工作坊、放映会、户外装置、旅行以及 其他公共介入活动都只是其中的一部分。为了庆 祝“奥地利艺术在中国的五年”，艺术使馆发行

了包含5本画册的限量套装：《米饭》（2009）， 《打包》（2010），《串门》（2011），《左/右》 （2012）以及《大字报》（2013）。

Franz Amann 1973 born in Feldkirch/ Vorarlberg (A), 1994-2000 philosophy and art history, University of Vienna, 2000-04 Academy of fine Arts Vienna, Renèe Green and Marina Grzinic; selected residencies/ scholarships: 2014 residency in Bilbao (E), 2012 residency in Millstatt (A), 2011 residency in Beijing (RC), 2010 residency in Berlin (D); selected shows: 2014 „Standort (vol.2)“, Villa Claudia Feldkirch (A), 2013 „Kardinal König Kunstpreis 2013“, Kunstraum St. Virgil Salzburg (A), „Standort (vol.1)“, österr.

Kulturforum Berlin (D), „Lake Views“, Millstättersee Soart (A), “Chat Jet. Malerei jenseits ihres Mediums”, Künstlerhaus Graz (A), “GrauRand”, Palais Liechtenstein (Feldkirch/A), 2012 “Heimspiel”, Kunsthalle St.Gallen (CH), “left and right”, Austro Sino Arts Program (Beijing/ RC), 2011 “Die Farbe ändert nichts an der Funktion”, Gallery Emanuel Layr (Vienna/A), “A Conversation”, Forum Stadtpark (Graz/A), 2010 “Rookie of Art Bodensee” (Dornbirn/ A), 2009 “in memory of painting 1”, Gallery Layr Wüstenhagen (Vienna/A), 2004 “the Brazilian Expedition of Thomas Ender”, 26. Sao Paulo Biennial (Br) Lukas Birk Lukas is an Austrian born multi-media artist, explorer and organiser. He was educated in Austria and the U.K. He has exhibited his work on 3 continents including large scale installations in Israel and China. He gives lectures and teaches multi-media art. His films have been screened around the globe in prominent festivals such as the New York independent film festival. Lukas’ first major publication Kafkanistan (2008) is about tourism to conflict zones with focus on Afghanistan.

His latest publications Afghan Box Camera explores the world of photography in Afghanistan and Polaroid from the Middle Kingdom the nostalgia of fast changing China. Lukas is co-founder of the Austro Sino Arts Program, China and SewonArtSpace, Yogyakarta, Indonesia.

Hannes Böck 1974 born in Vienna 1994 – 1996 apprenticeship as photographer. 1997 – 2003 Academy of Fine Arts Vienna, Class for Conceptual Art, with

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Renée Green. 1998 – 199 Academy of Fine Arts Berlin, Class for Experimental Film, with Heinz Emigholz. 2005 Diploma Academy of Fine Arts Vienna with Marina Grzinic.

Karel Dudesek Karel Dudesek was born 1954 in Prague. He studied in Vienna and Düsseldorf, worked as an artist, musician and performance artist in the UK, Poland, Northern Ireland, the USA, Germany, Austria and France. He co-founded with Mike Hentz and Chris Haas, Minus Delta t, a performance and music group, which later initiated the Bangkok Project. In core the transport of a stone weighing 4.5 tons from Wales to India, this was a mobile art project which lasted continuously for about six years. 1992, Van Gogh TV developed a media experiment titled Piazza Virtuale and proposed to the documenta 8, Jan Hoet. Van Gogh TV consisted of Karel Dudesek, Benjamin Heidersberger, Mike Hentz and Salvatore Vanasco in those days. Van Gogh TV broadcasted all over Europe and was a forerunner prediction of social networks, which emerged a couple of years later.

1996 he was founder of Van Gogh TV Inc. in Atlanta USA, and produced a 3 dimensional virtual world for the internet, “Worlds within” a project for the Olympic Games, together with Martin Schmitz, Tim Becker, Julean Simon, Axel Roselius and Ernst Pfannenschmidt.

Sylvia Eckermann & Gerald Nestler Sylvia Eckermann has been working in the field of electronic arts since 1989 and is regarded as a pioneer in the field of the artistic use of game engines. She has realized interactive installations and media related artworks in Austria, Great Britain, Germany, Italy, Greece, Finland and China as well as commissioned work for e.g. the Millennium Dome London, 2000. In 2012, she received the Austrian State grant for video and media art. www.syl-eckermann.net Gerald Nestler is an artist and writer focusing on economic and financial globalization by researching derivative practices as a social paradigm. Nestler graduated from the Academy of fine arts Vienna in 1992 and conducted artistic fieldwork as a trader and broker from 1994 to 1997. He has been showing his work and published texts internationally since the early 2000s. In 2003, he received the Austrian State grant for fine art in 2003.

Nestler lectures at Webster University Vienna and is completing a practice-based PhD at the Centre for Research Architecture, Goldsmiths, University of London. www.geraldnestler.net Georg Frauenschuh 1979 geb. in Salzburg / Austria 1999 - 2004 Akademie der bildenden Künste Wien (Klasse Damisch) 2002 - 2003 National Academy for Fine Arts, Sofia. 2005 Preis des Theodor Körner Fonds. 2006 Frankfurtstipendium der Stadt Wien.

2007 Projektstipendium für Nanjing (China) durch das bmukk. 2010 Konzeption und Gestaltung des Franz Braumann-Raumes.

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Artist’s curiculum vitae Tina Hochkogler Lives and works in Vienna. Working with videos, animations, installations, photography, graphics, and drawings, she explores the relationship between imagination, perceptions, memories, and the media reflecting and creating them.

Anna Hofbauer Anna Hofbauer (born 1981, Vienna) lives in Vienna and Beijing, co-found of Blackbridge Off in Beijing Exhibitions (selection): LustGallery, Vienna (2014), Fluc, Vienna (2014), BarDuBois, Vienna (2014), NTK-Gallery, Prague (2013), Kunstpavillion Nussdorf, Vienna (2013), Ve.Sch, Vienna (2013), Schneiderei, Vienna (2013) Jan Krogsgaard & Thomas Weber Carlsen Jan Krogsgaard is a Danish director and video artist. He has for almost two decades worked with video as art. His works have been shown around the world, in museums, festivals, galleries and aired on TV-stations. In 2002, Jan Krogsgaard expanded his field of work into art-documentary and documentary film, focusing on two major projects: the “Voices of Khmer Rouge” project together with Thomas Weber Carlsen, and his Burma Film project, ending up as the Oscar nominated and multi award winning movie “ Burma VJ - Reporting from a Closed Country “.

Thomas Weber Carlsen is Danish and holds a Bachelor degree in Art History and a Masters degree in Architecture and Industrial Design. His work includes the video documentary “Anger of the Spirits” (2002), featuring the Tampuan people in their plight between animism and globalization.

Heimo Lattner Heimo Lattner, born 1968 in Eisenstadt, Austria, lives in Berlin.

He studied at the academy of fine Arts Vienna and the Whitney Independent Study Program in New York. His works are based on the discourse of environmental relations and social identities. With this his processes relevant questions of society with ways of art, theatre, radioplay and film.

Johann Neumeister born 1976, lives and works in Vienna, (A). He studied philosophy, psychology, fine arts and computer-music and is working in a variety of media, including painting, sculpture, performance, video and music. In 2008 he took part in the Mak-Schindler residency program in Los Angeles. Since then his work is mainly concerned with filmmaking. He is co-founder of several artist groups and bands and since 2006 Co-Director of Sezession Wichtelgasse (www.sezessionwichtelgasse.net).

Moritz Neumüller Born in . Linz, Austria, 1972 is a curator, educator and filmmaker in Barcelona. He has worked for several art institutions, such as the Museum of Modern Art, PhotoEspaña, LOOP 38

and teaches photography and new media at universities and schools. In 2009, he founded ArteConTacto, a project aimed at exploring art through all senses, in order to provide access for all visitors, including the visually impaired. His photographs are sometimes shown in exhibitions, such as the Havanna Biennale, but he is more interested in helping others to create, than to show his own work. His filmography (apart from “deutsch sein kunstsprach, 2005”) includes “Ein Heiliger für alle?” (Austria, 2003), a 30 min. documentary film on the Cult of San Lázaro, for the Austrian Broadcasting Company and the 3Sat channel; and “El otro lado del alma” (Cuba/Austria, 2002), a 20 min. film, shown at the International Black Film Festival in Berlin, Düsseldorf, Vienna and Ljubljana.

Thomas Pakull Born May 8, 1968 in Bielefeld, Germany. 1990 - 1994 studied visual communication in Duesseldorf, Germany. Since 2002 he lives with his family in Munich. He discovered the art of paper cutting for himself. Scissors and scalpel have become his favorite tools.

Anton Petz 1962 born in Graz, 1981-87 study of Art, Accademy of Fine Arts Vienna. 1987 Scholarship, Universitad di Complutense Madrid, Spain, 1993 - 97 Associated Professor, Accademy of Fine Arts Vienna, 1996 Bauholding Artprice for painting, Klagenfurt, 1996 Residence Jerusalem, Israel, 2013 Residence HuanTie Times Art Museum; Soloexhibitions-selected: 2013 „you are the world“, Gallery Klose, Essen, Germany / 2012 „Status Quo“, Kunstverein Herborn, Germany / „endlich gute Malerei“, with Ronald Kodritsch, Artothek & Bildersaal, Munich, Germany / „Leisure Time & Revolution“, Gallery Brunnhofer, Linz, Austria / 2011 „Dream Liner“, Gallery Brennecke, Berlin, Germany / „Impuls“, STATION FOE 156, Munich, Germany , Groupshows-selected: 2013 „Geld macht sichtbar“, Internationale Grafiktriennale, Künstlerhaus Vienna, Austria / „Leave and (not) return“, Forum for Fine Art Montafon, Schruns, Austria / 2012 „Moderne: Selbstmor der Kunst?“, Neue Galerie am Landesmuseum Joanneum, Graz, Austria / 2011 „European Contemporary Art“, O`s Gallery Jeonju-City, Korea / „turn around“, Schwartz Gallery London, UK / 2010 „Kollaps“, Kulturrat e.V., Bochum, Germany / „public-sale“, Kunstpavillon, Munich, Germany Rainer Prohaska Born in Austria, 1966. Lives and works in Vienna.

2014 Zhujiajiao Himalaya Art Museum, Shanghai, China, BMUKK Residency. On the Streets, apexart, Phnom Penh, Cambodia. 2013 Künstlerhaus, Vienna, Austria, 2012 LuminaTO 6, Toronto, Canada, 2011 14 Stamps for the Austrian postoffice, Kunsthalle Krems, Austria, 2010 Anni Art Gallery, 798 Art District, Beijing, China, Austria Culture Forum New York, New York, USA, Gwangju Art Biennale, Gwangju, South Korea, 2009 MAK Schindler Scholarship, 6 months, Los Angeles, USA,

2008 Kunsthalle Krems, Krems, Austria, ISEA, Singapore, donaufestival, Krems, Austria 2006 STRP-Festival - Art and Technology, Eindhoven, Netherlands

1990 annual intermedial Symposia in Schrattenberg. Since 1998 „Hotel PUPIK“, organisation of the artists in residence in Schrattenberg. He lives and works in Vermont and Austria.

Ralo Mayer Ralo Mayer, born in 1976 on the Austrian side of the thenexisting Iron Curtain, lives and works in Vienna. His artistic interests include the Science Fiction, ecology and outer space as a giant projection screen for earthly realities. His research leads to transmedia works in film, performance, installation and text. Since 2007 Mayer has been investigating „Biosphere 2“, a closed eco-system in the Arizona desert designed as a prototype for space colonies. http://was-ist-multiplex.info

Roswitha Weingrill born 1984 in Graz 2003 – 2010 University of Applied Arts, Vienna (Erwin Wurm, Barbara Putz-Plecko, James Skone) Awards: 2012 Theodor Körner Award. 2011 Bmukk Residency Shanghai. 2011 Scholarshipaward for fine arts of the City of Graz. 2009 Scholarship for fine arts of the province of Styria

Ida & Bianca Regl Biana Regl born in Linz, Austria 1980. Lives and works in Berlin, Vienna and Beijing.

2010 Artist in Residence / Red Gate Gallery, Beijing, CN. 2006 Academy of Fine Arts Vienna / Daniel Richter, Extended Painting, Vienna, A. 2005 University of California Los Angeles / Graduate Painting, Los Angeles, California. 2004 International Summer Academy of Fine Arts / Xenia Hausner, Painting, Salzburg. 2003 Academy of Fine Arts Vienna / Hubert Schmalix, Figurative Painting, Vienna, A. 2002 Art University Linz / Ursula Huebner, Painting, Linz, A. 2001 Ateliers de Beaux-Arts de Paris / Francois Maigret, Drawing, Paris, F. Audrey Salmon Audrey Salmon is a French born multi-media artist. Her work is primarily concerned with memory, time and space. www. audreysalmon.com Christian Schwarzwald Christian Schwarzwald, born 1971 in Salzburg, lives in Berlin. He studied at the acadmey of fine arts in Vienna and Athens.

His works have been shown at : Galerie Krinzinger/Vienna, Derek Eller Gallery/New York, Nina Menocal Gallery/Mexico City, Bonner Kunstverein/Bonn, Bawag Contemporary/Vienna, Museum der Moderne/Salzburg, Marta/Herford, Neuer Berliner Kunstverein, and others.

Bernhard Staudinger born 1980 in Vienna.

Studies in psychology, history, art history and musicology at University of Vienna. Since 2007 student at the Academy of Fine Arts Vienna, Class for Video-Installation, Dorit Margreiter Works with Video and different media.

Sylvia Winkler & Stephan Köperl Sylvia Winkler (*1969 / Austria) and Stephan Koeperl (*1966 / Germany) got their degrees from the State Academy of Fine Arts Stuttgart. Their collaboration started 1997 in Kunming/P.R. China. Since then they have realized interventions in numerous different places around the world.

They have showed their work internationally, including at the 7th Nippon International Performance Art Festival/Japan, the 3rd Shirjaewo-Biennale/Samara/RU, the Goethe Institute/ Cairo, Ex Teresa/Mexico D.F., Media Art Festival/Bangkok, Shang Elements Contemporary Art Museum Beijing, Shanghai East Asia Contemporary Gallery/Shanghai, Darling Foundry/ Montreal, Upstairs Gallery/Kolkata, The Block/ Brisbane, Incheon Art Platform/Korea as well as all over Europe.

Andrea Witzmann 1970 born in Vienna 1990-1997 University of Technology Vienna, Faculty of Architecture. 1997-2002 Academy of Fine Arts Vienna (Eva Schlegel). 2004 Scholarship at the Cité International des Arts Paris. 2005 National Grant of Photography Austria.

Förderungspreis der Stadt Wien. 2006 Residency Foundation B.a.d. Rotterdam. 2007 Pilotprojekt Gropiusstadt Berlin. 2008 Theodor Körner Preis Vienna. Austrian Award of Photography 2010 Scholarship Atelier Red Gate Gallery, Beijing. Scholarship Studio Budapest Galéria. 2011 Grant for Photography New York Gerlind Zeilner 1971 born in Mödling, Lower Austria 1993-1998 studies at the academy of Fine arts, Vienna with Prof. Damisch. 2009 Holding a class together with Yi Chen at the International Summer academy of Fine Arts, Salzburg. 2007 Workshop at the Design-Department of the Nanjing University, China. Awards: 2008 Anton Faistauer- prize. 2005 Georg Eislerprize. 1998 Würdigungspreis of the Ministry of Culture, Austria.

Heimo Wallner 20. 9. 1961 born in Tamsweg / Austria.

1981 - 88 Academy of Fine Arts, Vienna. Since 1988 Studio in Schrattenberg, St. Lorenzen bei Scheifling (Styria). Since 39

Published by Mazine.ws Publishing, Vienna 2014 Copyright © Mazine.ws and all respected artists All rights reserved. Without limiting the rights under copyright reserved above, no part of the publication may be reproduced, stored in or introduced into a retrieval system, or by any means (electronics, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. These regulations do not apply for educational purposes world wide.

ASAP online at www.austrosinoartsprogram.org TEOTA online at www.embassyofthearts.org Printed in the Global Marketplace Editorial: Lukas Birk & Karel Dudesek Layout: Lukas Birk Senior - Sino consultant: Ingrid Fisher Schreiber Production Assistant: Shawn Gao Translation: YiZhong, Joan Ho Text polishing: Otmar Lichtenwoerther LED consultant: Gernot Tscherteu We would like to thank In Beijing: Gudrun Hardiman-Pollross, Anni Ma In Hong Kong: Claudia Reinprecht, Deborah Ehrlich In Shenzhen: April Zhang In Austria: Olga Okunev, Gudrun Schreiber In Indonesia: Andreas Karabaczek Logistics fright: Ika Groeger & SF Express

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