inside out – Akademie der Bildenden Künste Wien

Jacqueline Grassmann

Kathrin Hanga

Kathrin Hanga

Kathrin Hanga

Viktoria Morgenstern

Bruno Gironcoli

Albin Bergström

Albin Bergström

Anne Schmidt

Anne Schmidt

Nicholas Hoffman

Nicholas Hoffman

Philipp Grünewald (steel), Viktor Lunegaard (chalk painting)

Laura Hinrichsmeyer

Laura Hinrichsmeyer

Max Kolten

MaxKolten

MaxKolten

Pablo Ehmer

Pablo Ehmer

Pablo Ehmer

Tallal Shammout

Ina Ebenberger

Maximiliano Leon

Tim Sandow

Tim Sandow

Florian Botka

Negra Bernhard

Rundgang-Diary Akademie der Bildenden Künste Wien 24.-27.01.2019

it is Tuesday, January 29th, or 29. Jänner as the Viennese say it, and I am supposed to write a small text/introduction accompanying this little contribution of photos I made with my friend Marie who, like me, also moved here in October. I already knew her, because we both were au-pairs in Paris, which I think is cute. Anyways. I listen to Frank Ocean’s 2016 album Blonde and am a bit annoyed with myself because I didn’t make up my mind of how to write and what to show before taking the pics. I’m also in the post-Rundgang-depression hole and detoxing my body from 4 days of Spritzer and vodka abuse. Rundgang at art academies is always a kind of messy time of the year, being confronted with lots of anxiety of showing new work, presenting something fragile that just got finished (or might not yet be finished at all) to a huge crowd of strangers, being with people for 4 or 5 days straight, having good and bad conversations, being first drunk then hungover during these days, being confronted with ex-lovers, soon-to-be-lovers, people that home wrecked your relationship and/or people that you ghosted. Oh art world. But of course it’s fun too, like everything that holds this kind of intensity. 

Opening up to the public and the other classes of the academy can be as overwhelming as helpful, for students and the academy as an institution. While doing my Rundgang through the different buildings of the academy, looking at my fellow students’ works, I realized that evaluating and categorizing them based on the glimpses I could catch in my Spritzer-/hangover-haze, myself being exposed to a certain pressure of playing many roles at once, was a hard task to fulfill. Looking back, I’d say that I was drawn to those that were revealing a certain kind of vulnerability, an intention to look deeper into the things surrounding us and the ideas that lay behind them, that indicated an ongoing struggle to find one’s ‚own’ approach of using materials, forms, knowledge and ‚theory‘ in a broader sense. But maybe it’s best to make use of the words of the art writer Vernon Lee, who is my writer crush these days and who was introduced to me by a very dear person. The works I chose might have made „[…] connections between [a] set of distinct factors that contribute to aesthetic pleasure: the direct perception of a form as such; its interpretation in terms of what it’s meant to represent; emotional qualities inherent in perceiving the form or tied to it by association; and, finally, the individual’s intellectual and imaginative activity.“

White Ferrari

 

Text by Inga Charlotte Thiele

Pictures by Marie Haefner