Pictures by Studio Flusser
…and when mother saw her children play with their genitals
searching, greedy but in awe
mother didn’t blink twice
with a vigorous clout
she cut off what was left uneaten by their hungry souls
Usually, a dining room is equipped with a rather large dining table and a number of dining chairs. Apart from that one will – the sooner or late – encounter more temporary interior:
people, family, friends, colleagues and transitory guests.
They suffuse a given room or space with individuality, personalities, stories, and aura.
Ultimately these spaces host, often highly precarious, social situations ruled by manners, certain traditions and more or less unspoken guidelines. They elude themselves from their purposed function and get charged with different meanings (far away from the realm of food).
In the exhibition DINING by Igor Hosnedl one can find exactly these spaces and moments as a starting point of subsequent narratives. Moments that are carved by questions of which forces control our social interactions and what results from them.
What role do self-controlling mechanisms play in that?
We are opposed to scenes in which the reflection of the self becomes inevitably important.
when I hold the fish
I am the fish
will the fish fall?
Offering an ascetic way of looking at your own behavior and actions these works are reminiscing of habitual repetition, almost ritualistic rhythms. Depicting an assertive flux and sequences of movements, the paintings are home to tiny stages. Elements typically found in performative contexts – curtains, props, mirrors – suggest the awaiting of something – a spectacle that would lead to the lift of the curtain, to some kind of final wake up call.
Whether that might be a form of acknowledgment that we are facing an extinction crisis or that confidence can be as mutilating and toxic as crippling insecurity – it is a form of enlightenment that the protagonists are worshipping and sacrificing to.
she is definite
patient but cruel, wild yet forgiving
While Hosnedl stays true to his very own iconography developed over the past years, this series appears to be even closer to a place that could eventually be called home. Motherly energies meet the earth’s most dangerous as well as endangered species. In a place, where consumerist societies sit in empty waiting rooms, trying to decode their reflection in the mirror.
don’t you forget little kid
her grapes will nourish our bodies
her words shall form our language
Text Julius Pristauz