Funktionstiere - with Johannes Frauenschuh

2020/21, Lerchenfelder Gürtel U-Bahnbogen 28, Vienna

Since the COVID-19 pandemic started, it sees that animals or non-human like beings have come back into the focus of many artists. it may be ovisous to turn into something like positive escapis in times that are collectively perceived as stressful. At first sight, this escapism my be connected with the topic and or motive animal in general. 

 

Actually, the animal has been more present in artistic creation and aristic-scientific research for about 10 years.

In this context, many questions are examined of course, for example the reconsideration of the nature of animals or that different arrangements are designed for a participatroy access to art and so on. 

In her works, the artist Cornelia Dorfer deals with different functions that animals can hafe - form a human-centered point of view. Besides a mere incentive for artistic and craetive productions (fashion, design, etc.) there is a wide range of the functions: From the brutally held food supllier to the object of pleasure (hunting, sports) and cuddly toy to the essential companion for people with special needs or in challenging life situations (therapy animals, guide dogs). 

Based on photo collage,s digital images are further processed into painting. The works seem strange and at the same time familiar, the play with topics such as rapprochement, friendship, abuse and ultimately: alienation. 

Text: Petra Schartmüller

Thanks to: 

Underground Insekten 

2020, residency and exhibition Kulturverein kulm, Pischelsdorf

 

EXHIBITION: DAS TIER DER ZUKUNFT [THE ANIMAL OF THE FUTURE]

Welcome: Herbert Baier, Gottfried Ranegger

Speech: Roman Grabner

Performance: Elfriede Scharf 

Pics: Christian Strassegger

 

Participating Artists: Peter Angerer, Barbara Ehrenreich, Lena Feitl, Richard Frankenberger, Lotte Hubmann, Hund & Horn, Hans Jandl, Walter Köstenbauer, Franz Krammer, Clemens Kranawetter, Gottfried Ranegger, Klaus Schafler/Katrin Lea Tag, Christian Stassegger, Oksana Zmiyevska 

Many thanks to: 

WORK IN PROGRESS & WORKSHOP 

 

°~°~°~^~....

 

Where the stink bugs live, the woodlive eat and 

where the dung beetles go to sleep ...

 

In thihs project, the sensitive living environments of insects are examined more closely. 

Insects are further away from humans and they are less often humanized. They ain't pets, we don't go for a walk with them, we don't cuddle them - at least not knowingly. 

There are, it tends to be, less to zerfo funny YouTube videos with millions of clicks. Nevertheless, there are also the more popiular, the "sweet" and loving insects, the useful ones. And those that are used as emoticons for example: butterflies, bees & co. 

On the other hand, there are those to whom we pay less attention to. We might even find them gross, albel them as vermin or just plain boring. But why, actually? 

Of course insects are also exposed to prejudices, empty phrases and myths. So: We'd better take a close look at at that. 

As collages combining digital (photography, image processing) and analogue techniques (drawing, painting), with the attempt to represent the inherent beauty of every living being. 

Thanks to: 

Dein Sandwich ist meine Semmel - A Thousand Commitments to Super Glue - with Lily Lake 

mixed media installations

2019, 12-14 contemporary, Vienna

 

Many thanks to:

Postions on plastic

And humandkind.

Hold, freeze and recontruct.

 

Many negative sides and consequences of plastic production are widely known. But what are the sociological and cultural-anthropological implications? The history of technology and its innovations has always been linked to the cultural history of humanity, too. Plastic can be vital, plastic can be wasteful. Plastics can be in and with art itself: computers, devices, erasers, acrylic paint, music instruments - and this raises a moral-ethical question: Who is allowed to do plastic - when and in what context?

Living on different continents but still in a similar, postindustrial, globalized and capitalistic world, Cornelia Dorfer (* 1983) and Edward E. Kijowski als Lily Lake (* 1986) explore plastic conditioned mainstream phenomena, their constructions and representations about the mass media and how they interact with people in the past, present, and future.

Here, the perspective is not critically evaluative but rather documentary: Collective and personal memories of cultural techniques, everyday rituals, trends, secularization processes, object fetishisms, constructions of stereotypes including defamation - or just simple dream sequences of a partially massively overwhelming media world are held frozen and are reconstructed or further transformed.

This exhibition brings together selected works like mixed media objects such as 3D printed objects combined with wire or acrylic glas, textile photographic works, or so-called „everyday assemblages“ from various (found) materials like chocholate, with and as small photographs.

 

In addition, these approaches are extended by sound experimental, literary (Clemens Denk, Natalie Ofenböck) and olfactory (Bernhard Weber) contributions.

 

Opening speech: Ramón Reichert

Text: Consuela Contessa

Pics: Denise Parizek, 12-14 contemporary, Michael Koch, David Dam 

{yet} -  with Teresa Fellinger and Evalie Wagner

 2015, Ubik Space, Vienna 

The works from the exhibition {yet} arise from different directions and circle in a playful way to various forms of confrontation with fixed ideas plus the dualism of random events and the pursuit of perfection. 

 

To let oneself in when approaching the limits of controllability is not only an essential feature of artistic creative processes - it is also an indispensable human life-coping strategy. The results show up in art and everyday life, in small or large scale, incessantly. Often just the discrepancies let things appear charming and interesting. They can surprise, confuse, amaze and throw new lights on the familiar.


Halcyon Days, 2013 - with Teresa Fellinger, Herwig Kerschner and Evalie Wagner

intermediate interventions, Martin Luther Church, Linz 

The term Halcyon Days comes from Greek Mythology and refers to seven days in Dezember around the winter solstice, when the sea remains completely calm. According to the tale about Alkyone and Ceyx by Ovid, the kingfishers nest at this time on the water which remains silent until the eggs have hatched. Methaporically, Halcyon Days stands for a nice, shortly tranquil and (perceived as) perfect time in the midst of turmoil.

 

All projects sponsored by: 


zip.rar, since 2013

sound art collective 

with Teresa Fellinger, Joseph Knierzinger, Philipp Köster, Johannes Muik, Kathrin Stumreich,

Norbert Unfug and Kerstin Wiesinger

photo: Galerie Schleifmühlgasse 12 - 14
photo: Galerie Schleifmühlgasse 12 - 14

An experiment by eight amateurs and dilettantes creating a colourful droney collage through an individually

improvised concert on self-made instruments. These instruments are mobile "bricolages", made of old ps2-

computerkeyboards, microcontrollers and speakers. 

 

http://zip.rar.nospace.at/

http://www.klangkunsttage.at/

https://soundcloud.com/klangkunsttage/zip-rar-1214



Princess Palace, 2011

installation/art in public, Aspern, Vienna 

with Bernhard Weber

Part of the socio-cultural project "Seestadt Aspern" this mysterious shack was constructed of found materials. Concealed in rough terrain, it's hard to discover; it should serve as a kind of secret shrine. People who come there by chance can put artefacts or finds in it. 

htto:// meine.seestadt.info/princess-palace-von-bernahrd-weber-und-cornelia-dorfer/ 


© Cornelia Dorfer, 2021. All rights reserved.

 

info@corneliadorfer.com