NICOLETA AUERSPERG
“Alles, was sich im Bereich menschlicher Angelegenheiten abspielt
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- jedes
Ereignis,
Geschehnis,
jedes
Faktum
- könnte auch anders sein, und dieser Kontingenz sind keine Grenzen gesetzt.“
(Hannah Arendt)
#INSTALLATION #SPACE
#SCULPTURE #MATERIAL
BIO. Nicoleta Auersperg *1991, Buenos Aires has studied TransArt at the University of Applied Arts, Textual Sculpture at the Academy of Fine Arts, Vienna and in the Glass department at Rietveld Academie Amsterdam. Nicoleta Auersperg‘s work continuously (re-)explores the question of form-finding. She is concerned with its ambiguity, not only as a sculptural but also a societal process. In her artistic practice she investigates the character, qualities and origins of specific materials and social phenomena. Amidst ever more pervasive virtuality, Auersperg’s works return us to a place of sustained examination of and reflection on the very ‘matter’ surrounding us and our role or potential within it.
Photo: © Naomi Rincón Gallardo
Leave to rise (2020)
Sculpture
Leave to rise is a series of sculptures that takes up the Covid-19 Lockdown phenomena of excessive bread baking. Yeast became a scarce good only available at selective bakeries. Dough rising baskets, special baskets made out of wicker in which the dough is left to rise, were sold out. Instagram was full of proud people smiling next to their bread creations. It seems that in times where „staying at home“ became common sense people started to think of rye, spelt and sour dough. But what remains when the not so „system-relevant“ part of us gets send into short-time work by the state and the additional time is not able to be spent with the usual leisure distractions? The digital? Taking part in the transformative process of leavening and watching dough getting bigger and bigger may be an effective way to feel oneself as a productive individual. Furthermore it trains the impatient ones of us in patience — a skill highly useful during Lockdown.
Photo: © Naomi Rincón Gallardo
Besetzer (2019)
Sculpture
As if the material were still hot, the glass body sits on its platform. The process of shaping seems to be ongoing. As usual for many of my works I translate process into static sculptures. The series Besetzer is part of the exhibition hot to the touch that dealt with the phenomenon of defensive architecture in the public sphere.
Photo: © Naomi Rincón Gallardo
Einbein (2019)
Sculpture
The design and architecture of public space always mirrors a social-political status quo: Benches with armrests may look convenient at first sight but hinder people of lying down, metal sheets with pyramids put on door steps may look as an aesthetical feature but discourage people from sitting down and having a rest, metal bars put up in public corners prevent homeless people tosettle themselves. These are examples of a phenomenon that is known as defensive architecture.
The objects Einbein are useable sculptures, transportable seating objects that become „activated“ by the beholder. By doing so the defensive part- the welded spikes, faces downwards and becomes eliminated.