ANNA HOFBAUER

ANNA HOFBAUER

streetview

streetview

streetview

 

fotowien, Operngasse Ecke Faulmanngasse

15. & 16.06.2023

Anna Hofbauer, Nikolaus Ruchnewitz

For STREETVIEW, Anna Hofbauer and Nikolaus Ruchnewitz drive up by car, park, and position the Götschmann G 67 P. They then switch on the slide projector and cast images onto the windowless house facade.

In STREETVIEW’s analog projection onto a real existing surface, the artists reverse Google’s process of photographic surveying and street digitization through cameras mounted on cars. The projector, not the camera, produces the image. The house facade is transformed from an object to an image carrier.

Hofbauer and Ruchnewitz discuss the equipment and space required for photographic image production and presentation. Specifically, they focus on public space at the corner of Operngasse and Faulmanngasse in the 4th district. The space includes a facade, permission for a parking lot, a car, and the necessary electricity.

slide projections:

outofspace blue,  6×6 color reversal film, Anna Hofbauer, 2020

Fassade TU, 6×6 b/w reversal film, Nikolaus Ruchnewitz, 2023

Anna Hofbauer liest ‘Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer’

Anna Hofbauer liest ‘Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer’

Anna Hofbauer liest ‘Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer’

Fox, Vienna, 08.04.2017

slide show performance, 25 E6 color slides, 21 min, 2017

Anna Hofbauer liest ‘Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer’

Fox, Vienna, 08.04.2017

slide show performance, 25 E6 color slides, 21 min, 2017

DOM REVOLUCIJE NIKŠIĆ – GLASS BLOWING ZIBO

DOM REVOLUCIJE NIKŠIĆ – GLASS BLOWING ZIBO

DOM REVOLUCIJE NIKŠIĆ – GLASS BLOWING ZIBO

Dom Revolucije Nikšić, 10 color slides / Glass Blowing Zibo, 12 color slides

shown at “Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer”, Fox, Vienna, 19.03. – 08.04.2017

 

DOM REVOLUCIJE NIKŠIĆ – GLASS BLOWING ZIBO

Dom Revolucije Nikšić, 10 color slides / Glass Blowing Zibo, 12 color slides

shown at “Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer”, Fox, Vienna, 19.03. – 08.04.2017

 

Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer

Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer

Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer

Fox, Vienna, 19.03. – 08.04.2017

my volcano erupts

Anna Hofbauer

only not for you 

Clemens Roesch, 2017

(English by Douglas Deitemyer)

Nearly everything I know at this moment about “mein Vulkan bricht nur für dich nicht aus Anna Hofbauer,” everything I have seen and heard, came to me from two black cases: one is hand-sized and cannot be opened, the other is the size of a magazine and can be unfolded. On each of them, one of the surfaces is covered by a piece of glass that, through some tricks I do not understand, is illuminated from within, thus conveying to me ideas and impressions. I run the tip of my right index finger across the glass of the smaller case without being able to feel much. The glass is completely smooth – perhaps a bit of dust, grease, a small irritation caused by some dried fluid that my fingernail scratches away.

>full text

Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer

Fox, Vienna, 19.03. – 08.04.2017

my volcano erupts

Anna Hofbauer

only not for you 

Clemens Roesch, 2017

(English by Douglas Deitemyer)

Nearly everything I know at this moment about “mein Vulkan bricht nur für dich nicht aus Anna Hofbauer,” everything I have seen and heard, came to me from two black cases: one is hand-sized and cannot be opened, the other is the size of a magazine and can be unfolded. On each of them, one of the surfaces is covered by a piece of glass that, through some tricks I do not understand, is illuminated from within, thus conveying to me ideas and impressions. I run the tip of my right index finger across the glass of the smaller case without being able to feel much. The glass is completely smooth – perhaps a bit of dust, grease, a small irritation caused by some dried fluid that my fingernail scratches away.

>full text

Mein Vulkan bricht nur für dich nicht aus Anna Hofbauer, FOX, Vienna, 2017

bananas & cherries, 67,5 x 81,5 x 3 cm, terra cotta, 2016, whirl, 48 x 48 x 2,5 cm, unrefined terra cotta, 2017

whirl, 48 x 48 x 2,5 cm, unrefined terra cotta, 2017, Ghoststory II, b/w inkjet print, 100 x 130 cm, 2017, Ghoststory III, b/w inkjet print, 100 x 130 cm, 2017

Mainsquare, wood, slide projector, telescreen, Zibo Glassblowing, Dom Revolucije Niksic, 250 x 80 x 170 cm, 2017, Vulkano I, wood, terra cotta, varnish, acrylics, 110 x 94 x 9 cm, 2017

slideprojection, Dom Revolucije Niksic – Glassblowing Zibo, 22 E6 color slides, 2017

Ghoststory I, b/w inkjet print, 100 x 130 cm, 2017

bananas & cherries, 67,5 x 81,5 x 3 cm, terra cotta, 2016

whirl, unrefined terra cotta, 48 x 48 x 2 cm, 2017

Vulkano II, terra cotta, engobe, 76 x 76 x 4 cm, 2017

Vulkano I, wood, terra cotta, varnish, acrylics, 110 x 94 x 9 cm, 2017

mein Vulkan bricht nur für dich nicht aus Anna Hofbauer, folder, text by Clemens Roesch, graphic design: Dominik Hruza, 2017

Anna Hofbauer liest Bora ćosić: die tutoren

Anna Hofbauer liest Bora ćosić: die tutoren

Anna Hofbauer liest Bora ćosić: die tutoren

slide show performance, 25 E6 color slides, 12 min, 2018

Bora Ćosić wrote ‘The Tutors’ from 1972 to 1977 in Belgrade. Ćosić, as many other artists at that time, was silenced by the Yugoslavian regime. His books had disappeared from the bookstores, his plays were taken off the schedule and he was critizised in newspapers for his destructive and hostile writing style.

In this rejected situation, in a state of joyful loneliness, he devoted himself to the “proletariat” of language, the counter-language of ordinances, ways of speaking, letters, all the prefabricated phrases, these tutored languages and inserted them into the events of his family chronicle, which begins in 1828 and ends with him as an author in 1977.

The slide show Anna Hofbauer reads Bora Ćosić ‘The Tutors” is composed of slides taken during various trips to countries of former Yugoslavia and the former Austrian-Hungarian Empire. The text is an assemblage of short excerpts from the book ‘The Tutors’ by Bora Ćosić.

Three short text passages from three different chapters of “The Tutors” are vocally interpreted according to the different writing styles and range from a hard cut officials’ intonation to a staccato of nonsense rhymes and end in an exhausted matter-of-fact descriptive tone.

The slide projection is arranged in alphabetical order, which creates a random order of places and countries in a strict system. A system undermined – again – by the language, as German and Serbo-Croatian namings are chosen by chance.

Albania (landscape, 2002)

Bosnia Herzegovina (river, 2017)

Crna Gora (man at platform, 2013)

Dunajuvaros (swimming pool, 2004)

Anna Hofbauer liest Bora ćosić: die tutoren

slide show performance, 25 E6 color slides, 12 min, 2018

Bora Ćosić wrote ‘The Tutors’ from 1972 to 1977 in Belgrade. Ćosić, as many other artists at that time, was silenced by the Yugoslavian regime. His books had disappeared from the bookstores, his plays were taken off the schedule and he was critizised in newspapers for his destructive and hostile writing style.

In this rejected situation, in a state of joyful loneliness, he devoted himself to the “proletariat” of language, the counter-language of ordinances, ways of speaking, letters, all the prefabricated phrases, these tutored languages and inserted them into the events of his family chronicle, which begins in 1828 and ends with him as an author in 1977.

The slide show Anna Hofbauer reads Bora Ćosić ‘The Tutors” is composed of slides taken during various trips to countries of former Yugoslavia and the former Austrian-Hungarian Empire. The text is an assemblage of short excerpts from the book ‘The Tutors’ by Bora Ćosić.

Three short text passages from three different chapters of “The Tutors” are vocally interpreted according to the different writing styles and range from a hard cut officials’ intonation to a staccato of nonsense rhymes and end in an exhausted matter-of-fact descriptive tone.

The slide projection is arranged in alphabetical order, which creates a random order of places and countries in a strict system. A system undermined – again – by the language, as German and Serbo-Croatian namings are chosen by chance.

Albania (landscape, 2002)

Bosnia Herzegovina (river, 2017)

Crna Gora (man at platform, 2013)

Dunajuvaros (swimming pool, 2004)

Anna Hofbauer liest Bora Ćosić: Die Tutoren, slide show performance, 25 E6 color slides, 12 min, Skulptureninstitut, 2018

Anna Hofbauer

Anna Hofbauer liest Bora Ćosić: Die Tutoren, slide show performance, 25 E6 color slides, 12 min, Skulptureninstitut, 2018

Cosic_00_Prolog

Cosic_01_Albanien

Cosic_02_Bosnien

Cosic_03_CrnaGora

Cosic_04_Dunajuvaros

Cosic_05_E

Cosic_06_Foca

Cosic_07_Gailtal

Cosic_08_Hrvatska

Cosic_09_Italien

Cosic_10_Josip Jelacic Platz

Cosic_11_Konjarik

Cosic_12_Lepenski Vir

Cosic_13_Mostar

Cosic_14_Niksic

Cosic_15_Ostrog

Cosic_16_Podgorica

Cosic_17_Q

Cosic_18_Republika Srpska

Cosic_19_Serbien

Cosic_20_Travnik

Cosic_21_Ungarn

Cosic_22_Vojvodina

Cosic_23_Wien

Cosic_24_Zemun

Poster, Die Tutoren, graphic design: Dominik Hruza, 2018