RENADDE IM LUSTGÄRTLA, 2016
RENATEN: Renadde, Renate Bertlmann, Renate Kordon, Renate Rosenbauer, Renate Krammer, Renate Quehenberger. 17th of Sept. – 29th of Oct.
Opening by parish council Mag.a Daniela Grabe and Iris Kasper.
Renadde
Renadde´s pictures 2016,
aquarell
The fictional character Renadde, created by filmmaker Ludwig Wüst and visual artist Anke Armandi shown, is a bold and unconventional life plan, the one hand, in the films of Ludwig Wüst in KOMA (2009), TAPE END (2011) and HOME MOVIE (2016) and on the other hand is realized in the videos, installations and paintings and Renadde by Anke Armandi. Both grew up in Bavaria and artists living in Vienna serve as the alter ego and mouthpiece for the relentless examination of his own biography. Renadde lives an independent life as Profihure and amateur painter. As self-deprecating, humorous personality moves with great survival instincts and realized they confidently in different worlds.
Renadde’s LUSTGÄRTLA, 2016 by Anke Armandi
Renadde serves as an alter ego for both artists, that forces them to confront their own biographies.
HEIMATFILM was presented at Diagonale Graz and Filmmuseum Wien 2016and will be presented at INTERNATIONALE HOFER FILMTAGE autumn 2016.
Renate Bertlmann PARISER WASCHTAG/ WASHING DAY Samen keimen, seeds are growing
Born 1943 in Vienna, Austria, where she lives and works. Since the early 1970s Renate Bertlmann, feminist avant-garde artist, has explored issues around the representation of sexuality and eroticism within a social context. Despite its closeness to the nascent women’s art movement in the 1970s, revolting against a male-dominated world and developing new aesthetics to represent the female body, Bertlmann’s work distinguished itself by its inclusion of the masculine point of view. Working with collages, drawings, photographs, photo-films, performances and objects, her work has always played, not without humour, on the ambivalence of the feminine and masculine relationship in terms of sexuality and desire, challenging the stereotyped, preconceived roles assigned by society. Deepening society’s preconceptions, from 1975 she developed a series of works using latex teats and inflated condoms, associating the phallic with the feminine and addressing issues of contraception and motherhood. Including pornography in her work from the 1980s onwards, Bertlmann has pursued throughout her career an interrogation on gender relations. (Tate)
Renate Kordon: VogelKino/BirdCinema 2016 kunstGarten
Renate Kordon’s artistic work spans a polymorphous spectrum of techniques and mediathat defies conventional stylistic classification. It ranges from drawings, satirical comicsand series of psychogrammatic pictures and objects to experimental animation filmsor sculptural interventions in public space: a work culminating in an oeuvre characterised by the dialectical tensionbetween the rational/objective and the surreal/subjective, the material and the spiritual,and marked by a desire to shift ostensible reality into alternative realities of spiritual/emotional states.
Renate Krammer LINES, 2016
Renate Krammer – 1956 born in Klein St.Paul, Carinthia, Austria- studied in Graz – 1981 University degree in economics and pedagogics in Graz – is since 1989 occupied with art.
Studies:
1991 Summer academy in Carinthia with Helmessen, Meck, Bärntaler and Staudacher.
1992-1994 Four semester studies of artistic design, Giselbert Hoke at the Technical University, Graz.
1993, 1994, 1997 training-college of the academy of Graz with Paul Rotterdam.
1995, 1996, 1997 member of next – Verein für bildende Kunst – and cooparation in the management of projects „Kunstmühle“, „Kunstbrau“ and „grazgrambach“.
1998 Sommerakademie für bildende Kunst, Salzburg, Rivka Rinn
2009 Member of ACRYL, project “museum FrauenCIRCUS”, www.acryl.mur.at
2014 member of Kunstverein Kärnten, member of Gruppe 77
Renate Krammer OBJECT, 2016 – RENATEN
Poetry of the line
As far as I am concerned, studying the line – as a rudimentary device of artistic repertoire – is a challenge, as it is through the reduction to the line to its original state that not limited but unlimited possibilities of form and expression are created. The variation of the line is inexhaustible. As far as simplicity and frugality are concerned, the line, as a primary element, is not of a simple nature as the tension in the line itself becomes more significant. A line is created – the pencil/the colour glides – every movement brings about a variation and it is in this way that the line becomes an expression of every movement. Meditative, seemingly calm – all movements become visible in fine nuances. Through the line – drawn freehand – expression is created which is comparable with handwriting; writing without words. The variations in the line and the sum of the lines, visible in the form created, make the production of simple poetry possible. At the same time it is also an attempt to liberate ourselves from the unnecessary and to concentrate on the basics through the chosen reduced forms and through the choice of simple and frugal shapes. My subjects are often – not recognisable at first sight – taken from nature or nondescript objects, which are not considered particularly aesthetic everyday objects. Importance is usually placed on details, as seen through a microscope, which give them a new significance. The line is, to a certain extent, also a metaphor for things which are created and then which disappear again leaving hardly any clear traces of their existence. It is all to do with simplicity and the hidden, with the temporary and the fleeting.
Renate Rosenbauer, o.T., Ölbild 2016
Renate Rosenbauer, born 1963 in Linz, A.
Since 1980 engaged in peinting.
1983 to 1985 Ceramics and sculpturing (Wiener Kunstschule, A)
1987 to 1992 Studies – Fachhochschule für Kunsttherapie (Nürtingen, D)
since 1997 living as peinter in Graz, A
from 2004 to 2011 Atelier Loft Art, Wien
2007 Indienreise
2012 Opening KunstWerkRaumGraz
Many Exhibitions from 2002 to now.
Renate Quehenberger/Quantum Cinema: The Epita-dodecahedron visualizing
Renate Quehenberger (c) Don Freeman
is an artist and scientific researcher based in Vienna (A) investigating higher dimensional space. Currently she pursuing her thesis in philosophy „On the Hermeneutics of the Penrose Pattern“ and edditing a book about her project <Quantum Cinema – a digital vision > funded by the Austrian Science Fund, FWF (2010 – 2013) on the development of a new 3D animated geometry for higher mathematics for the visualization of quantum phenomena.