TMP 1-23

Various lambda prints, wallpaper, wall painting, and more...

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© TMP 1-3


by Luisa Ziaja

The most extensive series of works by Annja Krautgasser to date TMP—consisting of 22 pieces and begun in 2003—is based, like so many of her abstract experimental videos, on an auto-generative script programmed by the artist that uses realtime to line-up, overlap, and condense basic graphical forms on the monitor. Sequences of images like TMP 1-3 (2003) have been extracted from this process as stills and using the increasing complexity of the graphic pattern, despite the stillstand, manage to clearly establish the work’s intrinsic temporality—to which the title of the series alludes, i.e. the document suffix .tmp (abbr., for temporary). This tension between processuality and standstill is also reflected in the relationship between computer-generated random visual output and artistic intervention—in her treatment of the issue, Krautgasser is very aware of what it means to produce an image today, confronted with complex technical instruments. During his “laboratory analyses” back in the early-1920s, Alexander Rodtschenko had investigated the elements of artistic construction, such as colour, structure, and material according to criteria of objectivity, clarity, and precision. While he described the hand-drawn brushstroke as inadequate and inexact, and rejected it as the symptom of an outmoded and ultimately bourgeois art, he identified technical aids like the press, the roller, and the compass as appropriate and modern tools for the construction of artistic objects.1 The works of Annja Krautgasser update this claim: the aesthetic formulation of her computer-generated objectively constructed geometric structures is defined in the appropriate code, and oscillates between random and decision-based, between reduction and complexity.

The ten piece series TMP 4-13 (2003), with its linear compositions scanning the image coordinates, is based on a sound-sensitive code that visualises itself through isolation and densification. The image-generating potential of electronic sound in Krautgasser’s projects generally plays a key role. So, for instance, [TMP 14] (2005) was completed in the context of an experimental video and a live performance in collaboration with musicians. And with TMP 18 (2009), an abstract wallpaper installed permanently in a large discotheque in Innsbruck, she overreaches the frame of the canvas and feeds the sound-generated graphical pattern back into a space dedicated to the music—as quasi-visual feedback.

(Luisa Ziaja)

1 Cf. Alexander Rodtschenko, “Linija,” lecture held on 23.5.1921, (Eng. “The Line”), in: Alexander M. Rodtschenko. Warwara F. Stepanowa – Die Zukunft ist unser einziges Ziel ..., exhibition catalogue, Österreichisches Museum für angewandte Kunst Wien, Munich 1991, pp. 133-135.

TMP 1-3

Lambda print on PVC, 3 prints à 80 x 60 cm, 2003

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© Lambda prints TMP 1-3

TMP 4-13

Lambda print on PVC, 10 prints à 20 x 20 cm, 2003

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© Lambda prints TMP 14

TMP 14

Lambda print on aluminium, 140 x 100 cm, 2005

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© Diasec, lambda prints TMP 4-13

TMP 15-17

3 full page images in: die melange, 02 (2003), pp. 80-85

„Love in a VOID, it’s so numb“

by Christian Höller

“Void”: blank, vacant location, hole. What is an undefined concept in the computer programmer’s language, reversely, can be read as free interpretable area. Thus, “Void” can be understood as a kind of foil, to which audio-visual design patterns that are equal in area can be applied: This happens in the project series of the same name, which has been brought to various locations by a group of young Vienna-based graphic designers and musicians for almost two years.
Formed as an extension of the multimedia-label lanolin into real space (as well as live-events), the series Void unites members of the design collective vidok and Void has so far experienced four formations in various constellations and collaborations with the musicians of the group Radian (Stefan Németh and John Norman) as well as with the all-round sound-man Martin Siewert.
Whereas the initial stage of these audio-visual live-acts took place as sporadic visual improvisations, for example within the series Projektionen (Museumsquartier Wien, 2000), and the Silver Spring Act (Künstlerhaus Wien, 2001), in autumn 2001, one could see the first solid realization of the Void-concept at the Kunsthallenevent Sonic Televisions Gallery. [...]

Whereas at the beginning of the void series the still mainly prefabricated graphic elements—mostly in black and white and geometrically reduced—were tuned to the music of strict quality, later on the image emptying is driven still some steps further: the basic elements dominate: point, line, and area, out of which equivalents to the minimal impulses and micro-samples of the music in continuously new combinations are generated. The fact that in the end, the moving music-images in ever new gratings, “layerings” and rotations appear, only proves how swift the visual emptying, the “Voiding,” can abruptly turn into unthoughtof density-degrees, despite all the two dimensional flatness and abstraction.

TMP 18

Wall paper, 820 x 300 cm, 2009

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© Wall painting TMP 18. Photo: WEST.Fotostudio

Anfang September eröffnet am Innsbrucker Grabenweg 74 die neue Veranstaltungslocation MAX events and culture, mit dem Anspruch, ein neues Kapitel in Sachen kultureller Freizeitgestaltung in der Landeshauptstadt aufzuschlagen. Nach der kompletten Neugestaltung bietet die Venue auf mehr als 2000 m² Nutzfläche alle Voraussetzungen und Rahmenbedingungen, um außergewöhnliche Events realisieren zu können. Neben den von internationalen Künstlern mitgestalteten Räumen, der weitläufigen Veranstaltungshalle und der integrierten Kunstgalerie ist die qualitativ hochwertige Ton- und Lichtanlage als weiteres Highlight zu nennen. Im Eingangsbereich und im ersten Stock des Gebäudes wurde der zeitgenössischen Kunst viel Platz eingeräumt. Unter der künstlerischen Leitung von Kunstraum-Geschäftsführer Mag. Stefan Bidner werden ausgesuchte Arbeiten von den international renommierten Künstlern Hans Weigand, Sylvie Fleury, Peter Sandbichler, Thomas Feuerstein, Annja Krautgasser und Christof Hinterhuber permanent in den Räumlichkeiten des MAX events and culture gezeigt und so einer breiten Öffentlichkeit zugänglich gemacht. Darüber hinaus wurde eine permanente Kunstgalerie mit wechselndem Programm eingeplant.

TMP 23

Wall painting, 10 x 5 m, 2010
Kunst am Bau project, RLB Filiale Markthalle (Gestaltung Stiegenaufgang), A-Innsbruck

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© Wall painting TMP 23, Kunst am Bau project: RLB Filiale Markthalle, Innsbruck.
Photo: RLB Tirol AG, Fotowerk Aichner

Exhibitions: • coord(), Kunstverein Medienturm, Graz, A 2003 • Art Innsbruck, Innsbruck, A 2004 • Kunstpreis 2004, art bridge, Innsbruck, A 2004