Datum: Sa | 17.07.2021 So | 25.07.2021 Öffnungszeiten: täglich | 10:00 – 20:00 Uhr, letzter Einlass 18:00 Uhr; wenn die maximale Besucherzahl erreicht ist, kann es zu Wartezeiten kommen
Ort: Akademie der Bildenden Künste | Altbau | Akademiestr. 2
Vestibül, first floor
Die Arbeit Hit me baby one more time von Marie Jaksch untersucht das Gesicht als privilegierten Ort der Ausdrucksfähigkeit des Menschen und zeitgleich als Symbol seiner Krisenhaftigkeit.Drei Gesichts- Soundskulpturen aus ephemeren Material, in welche je Lautsprecher eingegossen ist, stehen auf Stativen im Raum. Der basslastige Sound bringt die Gesichter zum Wabbern bis hin zur völligen Dekonstruktion des Gesichtes. Die Installation bewegt sich dabei im paradoxen Spannungsfeld von Berührendem und Berührten, in dem sie den Fetischcharakter von Berührungen mitreflektiert und den Fokus auf das Prozesshafte legt: Wann bleiben Berührungen flüchtig und „unsichtbar“ wann hinterlassen sie (sichtbare) Spuren, bilden Narben?
Recyclable coffee cups, recyclable takeaway packaging, napkins made from recycled paper – in urban cafés and bistros, the green revolution seems to have won long ago.
We ride our bikes, shop with baskets or jute bags at packaging-free supermarkets, and have helped provision boxes and glass drinking bottles achieve a renaissance. We seem to have disposed of waste from our lives – as far as a modern and urban lifestyle allows.
But the fact that we, as conscious and sustainably thinking consumers, see less waste thanks to such concepts does not mean that we no longer produce any.The 3-channel video installation „Head and Shoulders“ asks what effects it would have if „invisible“ pollution were also visible to consumers – handily packaged, ready to go:
An oversized transparent „soy fish“ with a cap stands on a turntable in the center of the room and carries a projector inside it. (Dimensions 140 cm x 90 cm) From the cap on the „mouth“ of the fish, a video work is projected onto the opposite walls: Braided artificial hair in the water, swirling, leaving traces of color, penetrating and being swallowed at the transition between thought and matter, man and nature.
The work „head and Shoulders“ thereby also reflects the milieu- and gender-specific aspects of waste generation and recycling: How does my gender role affect my consumer behavior and my handling of waste? Why are topics such as sustainability and conscious consumption mostly connoted and staged as female in the media and advertising? How can this arbitrary linkage be explained and broken? But also: Which privileges make it possible to deal with and implement conscious consumerism at all?
The „soy fish“ as a symbol of take-away food is thus decontextualized and reinterpreted, whereby the work appropriates the paradoxical simultaneity of nature (fish), pollution (plastic) and costume (soy sauce) in form, material and content, and condenses it into a reassuring unity in the stream of environmental pollution and salvation in which we all find ourselves.
photo@mara pollak
video@Jakob Geßner
artist: Marie Jaksch // funded by Bezirksausschuss Neuhausen-Nymphenburg / Sponsoring: Deutsche Eiche München, DLRG Pöcking-Starnberg e.V.
Ultratouch or basal stimulation Sound and video installation, 2.28min, loop
Ultratouch or basal stimulation Video / sound installation and performance Kösk Munich 2019 Galerie von Empfangshalle Munich 2019 Published in Aviso, Magazine for Art and Science Bavaria 2019
„The digital bonding may ease deepest fears of loneliness and death, but at the same time it reduces the emphatic interest, it accustoms us to the ab- sence of intercorporeity, to the power of disregarding, to the preference of simulated life.“ Elisabeth Thadden
The sound-video performance „Ultratouch or basal stimulation“ asks about the limits and potentials of touch without physical contact, which is per- ceived purely via image and sound, in the context of web voyeurism and self-projection. The totality of the media experience gets deconstructed and examined, divided into images and sounds, language and physicality. The screen separates from the ‚actual‘ physical interaction with other people, it turns into the interface between self and external perception, which creates a paradoxical simultaneity of dead and alive, near and far, close and wide. The textualization of algorithms that pre-structure our media perception serves as a soundtrack; as chorales of virtuality, whose amplification and bass regulation increases the physical experience. Spread in the space you find three performers and one musician. They experiment with vari- ous „intimate“ or „private“ sounds and noises and create through these a disembodied touch with the audience.
The video uses the function of the screen as a digital mirror and medium of self-examination or -documentation in order to visualize contactless touches. The artist asks about the potentials and consequences of a virtual touch-ability: What does it mean for bodiliness if affection and touch are abstracted, synthesized and digitized? Will it be destroyed and abolished? Will it turn into consumery goods or a common good? Can virtual pre- sence replace the corporeity?
