Anna-Sophie Berger. Places to fight and to make up
ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE
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ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE
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ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE
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Parabolic Reflector (1), 2016
concrete, spray paint, 180 x 140 x 45 cm
courtesy of the artist and JTT New York
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ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE
–
Choicest Relic (1), 2016
paper, water, wooden frame, 142,5 x 181 cm
courtesy of the artist and JTT New York
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Pea Earring, 2016
pea seed, sterling silver, 0,6 x 0,6 x 1,3 cm
courtesy of the artist and JTT New York
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Agony half-hourly, 2016
ale-bench, dimensions variable
courtesy of the artist and JTT New York
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Back when I moved to my apartment in the 3rd district, the Golden Harp pub was still Café Goldengel—subtitled »Kommunikations Café.« People who moved here later, like my sister, who took my apartment after I left Vienna, don’t remember it usually. The »Kommunikations Café« aspect is what had me confused about Café Goldengel. It suspended the place somewhere in between a swingers’ club and a fake coffee house.
(…)
Three restaurants make up a conglomerate of 3rd district mostly middle-class living, from Rochus, the restaurant by the market, with its syntaxless menu composed of dishes described by nouns (chicken, salad, basil, balsamico), via Iridion, the overbooked Greek restaurant populated with doped waiters, their pupils as deep as oceans (the only thing anyone ever seems to remember from this part of town: »aber den guten Griechen habt ihr!«). Finally too, Goldengel turned into Golden Harp, spatially in bad limbo almost by the canal. For all I remember Goldengel was mostly empty. I never went in.
(…)
The paved path that separates the park from the subway station building is lined by trees. The park is configured as an attempt to construct a place around an area without a center. The proximity to the subway station building, with its fans and ventilation systems conspicuously relating to dust and dirt, make it unthinkable to spend more than a moment there, to stay longer than waiting. It is just within this non-space that two concrete parabolic reflectors have been installed.
Sourced from a company called Richter Spielgeräte GmbH, which specializes in large outdoor toys and activity tools, the parabolic reflectors directly refer to the dimensions of the area. They signify the parameter of need- ing thirty meters of distance between each other to function as »communicative toys.« If a person speaks right into the middle of one mirror, a second person, thirty meters away, will hear their voice as if standing right next to them. It is a phenomenon of acoustics that comes close to magic when first experienced. They are mostly used as a canvas for tags and graffiti—like a communication gone awry. The parabolic reflectors came to mean to me something more complex than a well-meant social imperative to »enjoy« a space. Like silent symbols, they waited patiently for us if we needed them. We had a ritual, to use them to fight and to make up. – http://anna-sophie-berger.com/placestofighttext.pdf
Place to fight and to make up by ANNA-SOPHIE BERGER is on view at mumok, Vienna until January 29, 2017.
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