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Gertrude Moser-Wagner - Concept & Coincidence

Year: 2000, 56 mins
Code: IN-Ger

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With her characteristic consistency Gertrude Moser-Wagner has viewed her work as a sculptress in the conceptual tradition even at a time when other approaches were more in the limelight. She uses very precise artistic stategies, such as the transferral from one context to another, the strategy of declaring something-to-be-art, of making the spectator aware of processes, changes over the time or the ambiguity of objects and shapes.
(Heidi Grundmann)

-Lingual 1992, 8 min,
-Kiosk 1993, 4:34 min,
-Luftloch 1997, 21:47 min,
-Vice Versa / Kraków-Krakau 1998, 19:12 min,
-Ouroboros 2000, 3:07 min

Gertrude Moser-Wagner´s projects over the past few years deal with, if not language or location, soil. Her international soil projects examine the ground upon which we stand as what civilization has discarded or left behind, either on or under the ground. Her first exhibition on this topic, which was held at Fotogalerie Wien in 1998, was followed by projects in Prague, Göttingen/Germany and Bologna. A book about the project as a whole has also been published (Soil=Boden, Erde; edited by Gertrude Moser-Wagner, Triton Verlag, Vienna, 2002); http://elektro.mur.at/art-metabolism/
The other most important areas are communication projects, investigations, transpositions and poetic interventions in the public space. Selected locations, villages, cities, zones, streets and stretches are always involved.
The sculptor, born in Styria, now lives in Vienna where she was awarded a degree in 1981 after studying under Bruno Gironcoli. For a number of years she taught at Vienna´s Academy of Fine Arts and University of Applied Arts. Since completion of her Leckstein (salt lick) project (Vienna, 1985, text by Reinhard Priessnitz), a conceptual impetus has guided her work, which intervenes in the form of investigations and produces both sensuous-aesthetic and communicative results she terms her sculpture. Her work has an interdisciplinary orientation and offers interfaces; it includes both pieces in public places and shows at galleries, museums and other venues where art is exhibited. The most important mediums are video, text, radio, installation and intervention.
Works:
1980-1990: conceptual investigations and initial video installations
1990-2000: shows at museums, art spaces: expanded sculpture and minus formats
since 2000: increasing amount of project art, public-space works, research and poetic intervention

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