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| en:projects:quasikunst [2019/02/05 07:34] – tanja | en:projects:quasikunst [2019/02/10 11:12] – tanja |
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| Quasikunst is systemic-performative research. According to the single project, Quasikunst is a systemic structure, it defines itself as contrast and underground in all directions. Among the increasingly rationally manifested surfaces Quasikunst means: dissociating, superimposed states, diffuse collectives, abstruse connections, other material, simultaneous saying yes and no. Oppositions question contradictions, contexts are extended by more contexts. | Quasikunst is systemic-performative research. According to the single project, Quasikunst is a systemic structure, it defines itself as contrast and underground in all directions. Among the increasingly rationally manifested surfaces Quasikunst means: dissociating, superimposed states, diffuse collectives, abstruse connections, other material, simultaneous saying yes and no. Oppositions question contradictions, contexts are extended by more contexts. |
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| Quasikunst was a project in 2015-2017 (2015 "Bäumeballett, or: I like Trees and Human Rights", 2016 "Fog Ballet", 2017 "Iceberg / The Entity - 48 Hours Meltdown") within an ongoing art/theory research since 2014, with references to the theory of "quasi-objects". | Quasikunst was a project in 2015-2018 (2015 "Bäumeballett, or: I like Trees and Human Rights", 2016 "Fog Ballet", 2017 "Iceberg / The Entity - 48 Hours Meltdown", 2018 "Windlines +++") within an ongoing art/theory research since 2014, with references to the theory of "quasi-objects". |
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| In 2015, Quasikunst dedicated itself to trees with "I like Trees and Human Rights": Collectives of trees as well as living and dead people were formed. In the underground of a forest floor, people are stuck with their heads in the ground, interrogating contexts, among other things to determine the morality of history and the pollution of the world under the cleaned surfaces. [[http://www.quasikunst.at/index.php/en/the-biomechanical-ballett-or-i-like-trees-and-human-rights/|More Trees]] | In 2015, Quasikunst dedicated itself to trees with "I like Trees and Human Rights": Collectives of trees as well as living and dead people were formed. In the underground of a forest floor, people are stuck with their heads in the ground, interrogating contexts, among other things to determine the morality of history and the pollution of the world under the cleaned surfaces. [[http://www.quasikunst.at/index.php/en/the-biomechanical-ballett-or-i-like-trees-and-human-rights/|More Trees]] |
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| **Project 2018**: Windlines / Movement A / 48 Hour of Drifting / Disapp (50.000) | **Project 2018**: Windlines / Movement A / 48 Hour of Drifting / Disapp (50.000) |
| In 2018 the almost immaterial materials underground, fog, ice were followed by wind. This year's art and context research showed "four blown coordinates between art agents and body movens". The focus was on air, transparency, and projects that elude implementation. Air and wind stood equally for breathing and thinking, for the physical and the abstract at the same time, for spirit and invisible masses of molecules. The mental approaches dealt with concepts such as disconnectedness, expansiveness, levelling, dissolution, uniformity, totality - and thus mark the critical point of the works. In the critique of totality, they also touch upon a definition of entropy - above all in order to plead for a kind of resource whose preservation is ultimately relevant for nothing less than a dialectic of life/non-life. [[http://versorgerin.stwst.at/artikel/aug-31-2018-1024/windlines-english|Announcement Windlines in der Versorgerin]][[http://www.quasikunst.at/index.php/en/wind-2/|Text on Quasikunst, windlines and entropy]] | In 2018 the almost immaterial materials underground, fog, ice were followed by wind. This year's art and context research showed "four blown coordinates between art agens and body movens". The focus was on air, transparency, and projects that elude implementation. Air and wind stood equally for breathing and thinking, for the physical and the abstract at the same time, for spirit and invisible masses of molecules. The mental approaches dealt with concepts such as disconnectedness, expansiveness, levelling, dissolution, uniformity, totality - and thus mark the critical point of the works. In the critique of totality, they also touch upon a definition of entropy - above all in order to plead for a kind of resource whose preservation is ultimately relevant for nothing less than a dialectic of life/non-life. [[http://versorgerin.stwst.at/artikel/aug-31-2018-1024/windlines-english|Announcement Windlines in der Versorgerin]][[http://www.quasikunst.at/index.php/en/wind-2/|Text on Quasikunst, windlines and entropy]] |
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