This is where we draw the line
a collaboration with Karin Pauer
premiered at Donaufestival
In this performance the gathering of the audience literally becomes a network in the art space, where new links with strings constantly generate and change various spatial constellations. The performers Karin Pauer and Arttu Palmio provide instructions, which are used to develop and discard divisions, connections, boundaries, and patterns. Based on black-and-white concept drawings by the visual artist Aldo Giannotti and his dramaturgical proposals, in combination with the ambient soundscapes of Paolo Monti, the audience is incited to conceive themselves as a choreographic community in which each constituent element is interconnected with the others and absolute autonomy cannot exist. A performative situation which takes notions of the collective body as its startingpoint.
Choreography: Karin Pauer, Aldo GiannottiVisual concept: Aldo Giannotti Sound: Paolo Monti Performance: Arttu Palmio, Karin Pauer
Objects: Peter Fritzenwallner
Duration: 2 hours
A coproduction by Karin Pauer and Donaufestival
shown at
Donaufestival Krems the mark, Bucharest fabrica de pensule Cluj MAMbo Museum, Bologna Communale, Eferding
Vimeo-link: https://vimeo.com/356504523
Password: theline
skyline [gallery size="full" ids="1573"]
Skyline [gallery ids="1577,1573,1570,1571,1574,1575,1576,1578,1572,1579,1580,1581,1582,1583,1584,1585"] ink on paper 2016 Produced for the exhibition "Utopia Wohnraum" at Bechter Kastowsky Galerie
a straight line trought the planet dvd 1:23 min 2013 aldo giannotti and pablo chiereghin
An angle of 180 degrees is a straight line or half a circle framed océ lightjet print on dibond 170 x 127 cm 2007 Portrait of the artist’s mother hanging upside-down photography: Gianmaria Gava
b.Line 27.07.2007 -02.09.2007 curated by Erno Vroonen A line that establishes or marks a border. An indefinite area intermediate between two qualities or conditions. Verging on a given quality or condition. Of a questionable nature or quality. Relating to any phenomenon that is intermediate between two groups and not clearly categorized in either group. Relating to a condition charactarized by a pattern of instability in mood, interpersonal relations, and self-image, and manifested by self-destructive, impulsive, and inconsistent behavior. Defining geographic boundaries of political entities or legal jurisdictions, such as governments, states or subnational administrative divisions. Complexly understood as a site at and through which socio-spatial differences are communicated. Ter Caemer-Meert Contemporary Veemarkt 31 B - 8500 Krtrijk Belgium www.tercaemermeert.com
The Looper (Jerusalem)
Performative installation. In collaboration with Paolo Monti and Karin Pauer. Curated by Anat Safran & Tal Erez “The Looper” points at our complicated relationship with time and time efficiency in contemporary life. Concept drawings and neon works spread throughout the building and an interactive sonic and performative space offer various perspectives on the perception of time and views our existence as non-linear - a constant accumulation of repeated loops. The sonic and performative space invites visitors to participate in an accumulative sound structure. Using a looping device, a sound designer captures visitor's contributions turning them into a sonic collaborative manifestation of the now. In addition, a performer engages in practices of repetition and transformation which takes visitors' traces into consideration, adding an element of embodied captivation of nowness. The black and white concept drawings strip ideas down to a pointed formulation in the shape of a concise statement, an unsolved question or a witty remark. [gallery ids="2792,2793,2869,2790,2783,2830,2794,2817,2840,2841,2813,2827,2845,2791,2861,2823,2829,2833,2837,2820,2854,2848,2784,2785,2850,2819,2842,2849,2832,2786,2799,2839,2838,2860,2825,2787,2821,2789,2818,2826,2796,2858,2797,2798,2828,2810,2801,2814,2802,2804,2805,2806,2807,2808,2809,2835,2811,2812,2822,2843,2846,2847,2851,2803,2866"]Safe and Sound
Safe and Sound by Aldo Giannotti, conceived for MAMbo, is the artist's first anthological exhibition in an Italian institution, curated by Lorenzo Balbi with the curatorial assistance of Sabrina Samorì. Supported by the Italian Council, Directorate-General for Contemporary Creativity, Italian Ministry of Culture, the exhibition contemplates notions of safety and security considered from different perspectives. Ranging from the fundamental, existential aspect of safety, to regulations of the social sphere, to the technological impact on the field of security, the exhibition invites visitors to reflect upon their own position towards these concepts. Regulations, laws, and given behaviour settings of different social contexts provide the content to Giannotti's confrontation with said notions. The exhibition welcomes visitors into a space for exercising potential alternatives and challenges them to bend their perception of regulations and their own behaviour and decision-taking processes within deeply embedded structures. Security is defined as the freedom of danger. Giannotti asks what freedoms we give up in order to obtain our safety and probes the paradoxical nature of this negotiation between freedom and security. Our current reality turns precisely such questions into a daily practice and forces us to find answers collectively. Investigating these topics, the exhibition merges the museum's microcosm with the broader social environment. Drawings lie at the core of Giannotti's artistic practice. However, the activation or realization of such concepts often take shape in the form of installations, performances, video works or the readaptations of spatial structures. Safe and Sound is partly set up as an intervention on the architectural structure of MAMbo itself in order to rethink the museum space and the way visitors interact with it. The paths created by Giannotti's structural interventions within the museum take account of the specific nature of the building whilst producing a completely personalized adaptation, which forced the museum institution itself to participate in the reshaping of norms, both conceptually and literally. Safe and Sound however is not just an intervention on the spatial structure of the building but also a way to explore the network of relations that define a museum experience as such. Starting from an exercise within the parameters of the museum space as a building but also as a social sphere with its inherent behaviour settings, visitors get to outline an alternative significance of the notion of security, which might differ from the one imposed by mediatic communication and political practices.Spatial Dispositions : Albertina Inviting Aldo Giannotti to conceive an intervention means viewing its location—in this case Vienna’s Albertina and its different collections, which are complexly structured for historical reasons—from completely new perspectives on the basis of his highly imaginative drawings. The artist, who was born in Genoa, Italy in 1977 and has lived in Vienna for some years now, mostly relies upon black felt-tip pen drawings reduced to concentrated outlines on A4 paper as his primary means. The drawings are documents, feasible suggestions or fictitious instruc- tions, grounded, in his research-related working and reflection processes. They capture concepts of performative-installative as well as purely intellectual approaches in a humorous, sometimes socio- and institution-critical way. The basis for his concepts and associative and intuitive pictorial solutions are literary research and conversations with people working at the Albertina, who, because of their different fields of activity, have developed different views of their workplace. Especially for those people who have worked at the Albertina for many years, or even decades, Giannotti’s “investigations” and “interviews” have marked a pause in their everyday routine and offered an opportunity for informative self-reflection. (more…)
The Museum as a Gym KUNSTHAUS GRAZ AS A GYM
The project The Museum as a Gym was developed by Aldo Giannotti to open up new socio-architectural perspectives for Kunsthaus Graz. Inspired by the idea of a museum of art as a mind gym as well as by the Latin phrase mens sana in corpore sano (“a sound mind in a sound body”), the artist has designed a gym-like environment within the museum building using only existing infrastructural features.
In a series of drawings that serve as instructions, visitors of all ages are invited to experience the museum as a gym, not only for the mind, but also for the body. In line with the multi-purpose, open nature of Kunsthaus Graz, the project enables a dynamic and collaborative encounter with a museum of contemporary art as a space for public engagement. As one of the designers of Kunsthaus Graz put it, “like a human personality, a building can become more and more intriguing as we delve inside and get to know it” (Peter Cook). With this in mind, Giannotti invites the audience to engage with the institution and to conquer its space through a familiar, physical experience.
Like a red thread running through Giannotti’s whole body of work, here again his main concern lies in the relationship of individuals with their surroundings. Indeed, there is a functional correlation between the way a space is arranged and the tendency to behave in a particular way within it. In accordance with the notion of Umwelt as developed by Baron von Uexküll*, Giannotti explores the museum space as a set of orientation marks which work as instructions for use and turn the physical, objective space into a system of significance or living environment. In order to turn a museum into a gym, it is necessary to alter those “bearers of significance” (Bedeutungsträger) that delimit the extent of actions within the museum space in such a way that the audience is tempted to do gym exercises in it. By doing so, the artist investigates the structure and functioning of the museum as a social space.
By shifting from one significance system to another and crossing the border between them, the functional relationship with the environment, which guides the audience’s behaviour, is temporarily suspended and deactivated. This “being-held-in-suspense” between different semantic worlds lets those sets of rules, inherent to a museum or a gym, appear in their contingency and plasticity. Ultimately, by way of this disarming artifice, Giannotti is able to hint with ease and irony at those common marketing strategies which, with regard to the audience and membership development, link the museum to the gym.
The Museum as a Gym can also be considered as a stress test, in which Kunsthaus Graz is examined for its functional capacity and social elasticity. Through an active exploration that doesn’t shy away from physical strain and personal commitment, the institution’s infrastructure opens up as its symbolic musculature. This musculature points in different directions of contraction and, thereby, suggests its potential extension. Measuring such extensibility by using the museum as a gym, the visitors can activate untapped possibilities of dealing with the museum environment and, at the same time, question the role, which a museum of contemporary art plays in the interaction between different social bodies.
(Translated from German by Giorgio Palma)
* For Uexküll’s notion of Umwelt, see the brief but accurate overview by Giorgio Agamben in The Open. Man and Animal (Stanford: Stanford University Press, 2004, pp. 39–43).
DAS KUNSTHAUS GRAZ ALS FITNESSSTUDIO
Das Projekt The Museum as a Gym wurde von Aldo Giannotti zur Erschließung neuer sozialplastischer Perspektiven für Kunsthaus Graz ausgearbeitet. Angeregt von der Idee eines Kunstmuseums als Fitnessstudio für den Geist sowie von der lateinischen Wendung mens sana in corpore sano („Ein gesunder Geist in einem gesunden Körper“), hat der Künstler ein fitnessstudioähnliches Setting im Museumsgebäude bei ausschließlicher Verwendung vorhandener infrastruktureller Merkmale gestaltet.
Durch eine Serie von Zeichnungen, die als Handlungsanweisungen fungieren, werden Besucher/innen jedes Alters eingeladen, das Museum als Fitnessstudio zu erleben, und zwar nicht nur für den Geist, sondern auch für den Körper. Gemäß dem vielseitigen, offenen Charakter von Kunsthaus Graz ermöglicht das Projekt eine dynamische und kollaborative Begegnung mit einem Museum zeitgenössischer Kunst als Raum für öffentliche Partizipation. Wie einer der Architekten von Kunsthaus Graz ausgedrückt hat, wird ein Gebäude „genauso wie eine Person umso interessanter, je tiefer wir darin eintauchen und je besser wir es kennen lernen“ (Peter Cook). In diesem Sinne lädt Giannotti das Publikum dazu ein, sich auf die Institution einzulassen und ihren Raum durch eine vertraute, körperliche Erfahrung zu erobern.
Wie ein roter Faden, der sich durch Giannottis gesamtes Werk zieht, gilt sein Augenmerk auch hier der Beziehung von Menschen mit ihrer Umgebung. In der Tat besteht eine funktionale Wechselwirkung zwischen der Anordnung des Raumes und der Neigung, sich in diesem auf eine bestimmte Art und Weise zu verhalten. In Übereinstimmung mit dem von Baron von Uexküll entwickelten Umweltbegriff*, erkundet Giannotti den Museumsraum als Gefüge von Orientierungszeichen, die als Gebrauchsanweisungen dienen und den physischen, objektiven Raum zu einem Bedeutungssystem oder einer Lebenswelt machen. Um ein Museum in ein Fitnessstudio umzuwandeln, ist es also notwendig, jene „Bedeutungsträger“, welche den Handlungsumfang innerhalb der Museumsräumlichkeiten abgrenzen, so zu verändern, dass das Publikum dazu verleitet wird, darin Turnübungen zu machen. Dadurch untersucht der Künstler die Struktur und Funktionsweise des Museums als sozialen Raum.
Im Übergang von einem Bedeutungssystem zum anderen wird jene funktionale Beziehung mit der Umwelt, die das Verhalten des Publikums lenkt, vorläufig angehalten und außer Kraft gesetzt. Diese „Hingehaltenheit“ zwischen verschiedenen Bedeutungswelten lässt jene Regelwerke, die einem Museum oder einem Fitnessstudio eigen sind, in ihrer Kontingenz und Veränderbarkeit erscheinen. Schließlich kann Giannotti durch diesen entwaffnenden Kunstgriff mit Leichtigkeit und Ironie auf jene gemeinsamen Marketingstrategien anspielen, die – in Hinsicht auf Publikums- und Mitgliedschaftsentwicklung – das Museum mit dem Fitnessstudio verbinden.
The Museum as a Gym kann auch als ein Stresstest betrachtet werden, bei dem das Kunsthaus Graz auf funktionale Belastbarkeit und soziale Elastizität geprüft wird. Durch eine aktive Erkundung, die körperliche Beanspruchung und persönlichen Einsatz nicht scheut, erschließt sich die Infrastruktur der Institution als deren symbolische Muskulatur. Diese weist in verschiedene Kontraktionsrichtungen und lässt dadurch ihre potentielle Ausdehnung erahnen. Bei der Vermessung einer solchen Ausdehnbarkeit durch die Nutzung des Museums als Fitnessstudio können die Besucher/innen brachliegende Möglichkeiten im Umgang mit der musealen Umwelt in Gang setzten und dabei die Rolle, die ein Museum zeitgenossischer Kunst in der Interaktion unterschiedlicher Sozialkörper spielt, hinterfragen.
Giorgio Palma
* Zu Uexkülls Umweltbegriff, s. die kurze, aber präzise Darstellung von Giorgio Agamben in Das Offene. Der Mensch und das Tier (Frankfurt am Main: Suhrkamp, 2003, S. 49-53).
the museum as a gym
text by Giorgio Palma
The project The Museum as a Gym was developed by Aldo Giannotti to open up new socio-architectural perspectives for Kunsthaus Graz. Inspired by the idea of a museum of art as a mind gym as well as by the Latin phrase mens sana in corpore sano (“A sound mind in a sound body”), the artist has designed a gym-like environment within the museum building using only existing infrastructural features.
Through a series of drawings functioning as handling instructions, visitors of all ages are invited to experience the museum as a gym, not only for the mind, but also for the body. In line with the multi-purpose, open nature of Kunsthaus Graz, the project enables a dynamic and collaborative encounter with a museum of contemporary art as a space for public engagement. As one of the designers of Kunsthaus Graz put it, “like a human personality, a building can become more and more intriguing as we delve inside and get to know it” (Peter Cook). With this in mind, Giannotti invites the audience to engage with the institution and to conquer its space through a familiar, physical experience.
Like a red thread running through Giannotti’s whole body of work, here again his main concern lies in the relationship of individuals with their surroundings. Indeed, there is a functional correlation between the way a space is arranged and the tendency to behave in a particular way within it. In accordance with the notion of Umwelt as it was developed by Baron von Uexküll1, Giannotti explores the museum space as a set of orientation marks which work as instructions for use and turn the physical, objective space into a system of significance or living environment. In order to turn a museum into a gym, it is necessary to alter those “bearers of significance” (Bedeutungsträger) which delimit the extent of actions within the museum space in such a way, that the audience is tempted to do gym exercises in it. By doing so, the artist investigates the structure and functioning of the museum as a social space.
By shifting from one significance system to another and crossing the border between them, the functional relationship with the environment, which guides the audience’s behaviour, is temporarily suspended and deactivated. This “being-held-in-suspense” between different semantic worlds lets those sets of rules, inherent to a museum or a gym, appear in their contingency and plasticity. Ultimately, by way of this disarming artifice, Giannotti is able to hint with ease and irony at those common marketing strategies which, with regard to the audience and membership development, link the museum to the gym.
1 For Uexküll’s notion of Umwelt, see the brief but accurate overview by Giorgio Agamben in The Open. Man and Animal (Stanford: Stanford University Press, 2004, pp. 39–43).
The museum as a gym [gallery ids="1859,1825,1824,1831,1817,1833,1822,1836,1812,1816,1832,1813,1806,1837,1842,1819,1815,1848,1828,1835,1847,1807,1808,1814,1826,1827,1830,2091,2092,1846,1845,1820,1809,1818,1839,1843,1811,1810,1834,1838,1829,1840,1821"]
Fitness trail at the Kunsthaus Graz
Drawings instructions
The project The Museum as a Gym was developed by Aldo Giannotti to open up new socio-architectural perspectives for Kunsthaus Graz. Inspired by the idea of a museum of art as a mind gym as well as by the Latin phrase mens sana in corpore sano (“a sound mind in a sound body”), the artist has designed a gym-like environment within the museum building using only existing infrastructural features.
In a series of drawings that serve as instructions, visitors of all ages are invited to experience the museum as a gym, not only for the mind, but also for the body. In line with the multi-purpose, open nature of Kunsthaus Graz, the project enables a dynamic and collaborative encounter with a museum of contemporary art as a space for public engagement. As one of the designers of Kunsthaus Graz put it, “like a human personality, a building can become more and more intriguing as we delve inside and get to know it” (Peter Cook). With this in mind, Giannotti invites the audience to engage with the institution and to conquer its space through a familiar, physical experience.
Like a red thread running through Giannotti’s whole body of work, here again his main concern lies in the relationship of individuals with their surroundings. Indeed, there is a functional correlation between the way a space is arranged and the tendency to behave in a particular way within it. In accordance with the notion of Umwelt as developed by Baron von Uexküll*, Giannotti explores the museum space as a set of orientation marks which work as instructions for use and turn the physical, objective space into a system of significance or living environment. In order to turn a museum into a gym, it is necessary to alter those “bearers of significance” (Bedeutungsträger) that delimit the extent of actions within the museum space in such a way that the audience is tempted to do gym exercises in it. By doing so, the artist investigates the structure and functioning of the museum as a social space.
By shifting from one significance system to another and crossing the border between them, the functional relationship with the environment, which guides the audience’s behaviour, is temporarily suspended and deactivated. This “being-held-in-suspense” between different semantic worlds lets those sets of rules, inherent to a museum or a gym, appear in their contingency and plasticity. Ultimately, by way of this disarming artifice, Giannotti is able to hint with ease and irony at those common marketing strategies which, with regard to the audience and membership development, link the museum to the gym.
The Museum as a Gym can also be considered as a stress test, in which Kunsthaus Graz is examined for its functional capacity and social elasticity. Through an active exploration that doesn’t shy away from physical strain and personal commitment, the institution’s infrastructure opens up as its symbolic musculature. This musculature points in different directions of contraction and, thereby, suggests its potential extension. Measuring such extensibility by using the museum as a gym, the visitors can activate untapped possibilities of dealing with the museum environment and, at the same time, question the role, which a museum of contemporary art plays in the interaction between different social bodies.
Giorgio Palma
* For Uexküll’s notion of Umwelt, see the brief but accurate overview by Giorgio Agamben in The Open. Man and Animal (Stanford: Stanford University Press, 2004, pp. 39–43).
Spatial dispositions – book is out
Aldo Giannotti Spatial Dispositions Räumliche Veranlagungen
The first exhibition project of 2015 in ar/ge kunst galerie museum is entitled Spatial Dispositions and has been devised by Italian artist Aldo Giannotti (b. 1977, lives and works in Vienna). As a progressive examination of ar/ge kunst itself, Spatial Dispositions will operate as the introduction to the anniversary program. Beginning with a series of spatial observations on the planimetry and architecture of ar/ge kunst, Giannotti’s research expands into the broad field of relations that have defined and continue to shape it as an institutional space. (more…)Spatial Dispositions : Ar/ge kunst (bolzano) [gallery ids="1539,1535,1603,1608,1606,1604,1602,1596,1595,1548,1518,1547,1546,1545,1605,1544,1543,1542,1541,1609,1540,1538,1537,1536,1534,1533,1532,1531,1530,1529,1528,1527,1526,1525,1524,1523,1522,1521,1520,1519,1517,1516,1515,1514,1513,1512,1511"] [gallery ids="1532,1511,1525,1535,1512,1513,1514,1515,1516,1517,1518,1519,1520,1521,1522,1523,1524,1526,1527,1528,1529,1530,1531,1533,1534,1536,1537,1538,1539,1540,1541,1542,1543,1544,1545,1546,1547,1548"] disposition: 1) a person’s inherent qualities of mind and character; an inclination or tendency to behave in a particular way; 2) the way in which something is placed or arranged… In 2015 ar/ge kunst celebrates thirty years since its foundation in 1985. To mark this anniversary the entire annual programme will serve as a critical reflection on the history of ar/ge kunst and on the Kunstverein as the institutional model that has characterized it since the beginning. Through the various practices of the participating artists, this process of self-examination will centre on the exhibition as a mode of research, production, collaboration and restitution; a space and time conceived to facilitate reciprocity and mutual influence between the exhibitions and the accompanying program of public discussions, workshops and performances. The first exhibition project of 2015 is entitled Spatial Dispositions and has been devised by Italian artist Aldo Giannotti (b. 1977, lives and works in Vienna). As a progressive examination of ar/ge kunst itself, Spatial Dispositions will operate as the introduction to the anniversary program. Beginning with a series of spatial observations on the planimetry and architecture of ar/ge kunst, Giannotti’s research expands into the broad field of relations that have defined and continue to shape it as an institutional space. The history and economics of ar/ge kunst, its mission statement and ambitions, its responsibilities towards members and visitors, its relationship to its cultural and political context are here translated into projects for potential installations and performances. Presented as a ‘programmatic’ series of ideas or concept drawings, the outcome of Giannotti’s intervention is a kind of cartography that evolves in line with the research and dialogue of all the visitors, members, staff and artists who are and have been involved in making ar/ge kunst what it is today. Drawing, as a planning tool, has always been integral to Giannotti’s artistic practice. He uses it as an occasion or medium for liberating an imaginative, anticipatory practice that gathers up countless interventions and possible ‘exhibitions’ in one and the same space. His ideas function as a commentary, critique and contribution, perpetually reconfiguring the representation of the space. As such, Spatial Dispositions provides an approach to the institution as a system that can be read and altered according to both senses of the word disposition: as a pre-existing quality, tendency or behavioural pattern on the part of the subject, and as the possible organisation, distribution and arrangement of things in space. In these terms, Giannotti shifts what might be called the ‘affordances’ of the institution (properties inherent in the form or design of an environment and capable of conveying the possibility of its use) beyond immediate perception; ar/ge kunst becomes an object/subject that strives to perform a multiplicity of roles and functions in response to the actual or potential contexts it chooses to engage. more info : argekunst.it
THE MOVEMENT OF THE WHOLE
Inda Galeria Budapest
Fanni FUTTERKNECHT, Aldo GIANNOTTI, Diana KELLER, Esther KEMPF, Nicolas MULLER, Zuzanna JANIN & Kamen STOYANOV and Myriana TODOROVA 11. september 2014. – 22. october 2014. Opening: 10 september 6pmInda Galeria Budapest, Király utca 34. II/4 http://www.indagaleria.hu This exhibition project combines artistic strategies and possibilities of movements within the field of contemporary art. On the one side the artists explore the transportation of goods as inevitable part of the exhibition practice and on the other they look critically on the borderline of structured possibilities to move within the field of political and social relations. Artists are either the initiators or they take part physically in events of movement. In some of the projects the body of the artist became the object which moves through space alone or together with objects. The idea of personal engagement and going over difficulties becomes a central part of the works.a disturbance that travels trough space and time Votivkino , Wien 2014
The work A Disturbance That Travels Through Space And Time is an ongoing performance based on delivering instructions at venues where big gathering of people are expected (cinemas, theaters,ecc). The instructions invite to create human waves of different petterns as a reference to the idea of collective, mass movement, and how to convert a common will by the use of the own body.
What happens to the idea of choreography when carried over into the realm of everyday-life? What is a collective body and how does it move? What kind of temporary community is embodied by the audience? How can the political and social dimension, implicit in the concept of collectivity, be translated and practiced in an artistic form? A disturbance that travels trough space and time deals with such question redefining in a given space the lines between active participation and neutral stance , individuality and and collectivity, movement and still.
 also see: http://www.aldogiannotti.com/?p=941
INNENaussenINNEN / der nicht digitale virtuelle Raum
Â
mit Arbeiten von AO&, Siegrun Appelt, Beatrix Bakondy, Kathrina Dankl, Aldo Giannotti, Thomas Gronegger kuratiert von Christian Knechtl
Ausstellungsdauer: 20. September 2013 – 12. Oktober 2013 KUNSTRAUM NIEDEROESTERREICH, Niederösterreichische Museum Betriebsges.m.b.H, Herrengasse 13, A-1014 Wien, Telefon: +43190 42 111, Fax: +43190 42 112 E-Mail: office@kunstraum.net, Website: www.kunstraum.net Rechtsform: Niederösterreichische Museum Betriebsges.m.b.H , 3109 St. Pölten, Â
Objected Tables Aldo Giannotti, Markus Hofer, Roman Pfeffer Die Ausstellung "Objected Tables" vereint drei Videos der Künstler Aldo Giannotti, Markus Hofer und Roman Pfeffer, wobei jeweils jeder mit jedem ein Video realisiert hat. Markus Hofer drehte mit Aldo Giannotti "Coffee Bolognese" (2008), Aldo Giannotti mit Roman Pfeffer "Last Supper" (2010) und Roman Pfeffer mit Markus Hofer "The Restricted Conference" (2011).
Jedes Video beinhaltet einen Tisch als zentrales Motiv, ein in unserer alltäglichen Realität sehr wichtiges und bedeutungsvolles Möbel. Das Befragen der Anwendungen und Ausformungen dieses Objekts und seiner gesellschaftlichen Bedingungen wird mittels des Mediums Video zum bestimmenden Thema der Ausstellung. Die Videos sind von 28.9. bis 21.10.2012 jeweils von Dienstag bis Sonntag von 10.00 bis 18.00 Uhr zu sehen. Der Eintritt ist frei! Hofmobiliendepot – Möbel Museum Wien Andreasgasse 7, 1070 Wien Tel.: 524 33 57 Mail: info@hofmobiliendepot.at
Between Form and Movements
Can Altay, Kevin van Braak, Aldo Giannotti, Shaun Gladwell, Maurizio Mochetti Bologna from: 22 september 2012 to: 12 january 2013 Artists: Can Altay, Kevin van Braak, Aldo Giannotti, Shaun Gladwell, Maurizio Mochetti Curated by Emanuele Guidi Opening Saturday 22th September, 7 pm from 23rd September 2012 to 12th January 2013 Between Form and Movement is the title of a collective exhibition that present the work of international artists who investigate the production of space – in its social, political as well as architectural connotations - in order to explore its performative potential. Specifically conceived or re-invented for this project, the artworks define space – be it a building or a portion of it, a monument, a fictional architectural element or an entire city – through the tensions emerging between the powers that plan it and the social relationship who inhabit it. The body – of the performer, spectator or dweller – is understood in direct relationship with the constructed space as a cultural and political expression, through which “ideologies†carry their message. The affordances – those formal features of an object or an environment which suggest a use, an action or more generally a movement – become, in the artist’s practice, a tool to reveal the mechanisms that govern a given space and “in-form†the behavior of those who moves in it. At the same time, forms of appropriation and “para-functions†that emerge beyond the original plan or purpose turn into an expedient to then act on the experience of place and engender a critique of the space itself as “institution.†Moving along the line of this negotiation, the artists research and combine the rules of spatial relationships, the economies and history of certain places, in order to pose questions about the future and destiny of architecture, of public space and of the different ideological visions that, each time, inspire its planning. more info : www.galleriaastuni.it
Austro pop performance 2011 Invited to exhibit at the Austrian Cultural Forum in London, Tomaž Kramberger and me started rehearsing Austro Pop songs. In London we performed them in various location using busking as the form of practice. One crucial function of cultural institutions representing a nation abroad is to make its cultural heritage visible and accessible. We reckon that a strong part of the ACF’s representational focus has been the promotion of music. Austria (its historical developments as a country, respectively) has been generating vastly influential and world-renowned composers and musicians throughout centuries. Reflecting on this point we decided to work with that legacy and extend it to the recent development in popular music. a project in collaboration with roberto Beani
CV SOLO SHOWS (SELECTION)
2023 LEGEND HAS IT, Vigoleno, curated by Adiacenze UPDATE 2, Blickle Raum, Vienna, curated by Tina Schelle 2022 ON AND ON, Projektraum Viktor Bucher, Vienna THE LOOPER, Participatory installation, Jerusalem Design Week FLIGHT OF STEPS, Intervention Energie AG, LinzCiclo Continuo performative intervention 2011 A hand siren was placed on the balcony of the Palazzo Ducale, headquarters of the office of the Province of Massa-Carrara. The Public was left free to operate the siren, the sound of which could be heard in the entire town. camera and production support : Andrea Camozzi (K6Blue)
Masclet DVD PAL 6:50 min 2011 camera & postproduction: Roberto Beani
the shift Installative intervention documentation: DVD PAL 8 min. and 4 60x40 océ lightjet print on dibond, 2009 Street signs at the border between Italy and Slovenia where switch with each other during the night and remained shifted for two weeks before the competent authorities relocated them to their original position
upcoming shows --------------------------------------------------------------------------------------------------------------------------------- presents
Synaptic Driver Performance- und Happeningreihe im Rahmen des donaufestival 2011 28.4. - 7.5. 2011 Teilnehmende KünstlerInnen: Steffi Alte, Michael Bäckström, Baptiste Elbaz, Christian Falsnaes, Aldo Giannotti, Christina Goestl, Phini Gonzales, Konrad Kager, Ludwig Kittinger, Boris Kopeinig, Albert Mayr, Fernando Mesquita, Laurette Rasch, Constanze Schweiger, Toni Schmale, Eva Seiler, Jasmin Trabichler, Marianne Vlaschits kuratiert von Amer Abbas und Barbara Pflanzner Die künstlerischen Netzwerke des donaufestival werden heuer mit einem Happening- und Performanceprojekt weiter gesponnen. In Zusammenarbeit mit der Wiener Art Foundation werden unter dem Titel „Synaptic Driver“ unterschiedliche Handlungs- und Repräsentationsformen performativer Praktiken präsentiert. Analog dem Motto des Festivals "Nodes, Roots and Shoots“ werden Möglichkeiten erkundet, performative Arbeiten nicht als einzeln abgeschlossene Ereignisse zu erleben, sondern als offene und sich vernetzende künstlerische Ausdrucksweisen. Programm: Donnerstag, 28.4.     18.00 Ludwig Kittinger /  Fernando Mesquita 21.00 Albert Mayr Freitag, 29.4.         19.00 Konrad Kager / Baptiste Elbaz Samstag, 30.4.       18.00 Aldo Giannotti (eingang Donau Festival)                    18.00 Boris Kopeinig
Donnerstag, 5.5.      18.00 Marianne Vlaschits / Michael Bäckström Freitag, 6.5.          17.00 Steffi Alte / Eva Seiler 17.30 Constanze Schweiger / Jasmin Trabichler Samstag, 7.5.        14.00 Marianne Vlaschits 16.00 Toni Schmale / Phini Gonzales / Laurette Rasch 18.30 Christina Goestl 21.00 Christian Falsnaes Elektro Gantner Josef-Wichnerstrasse 2 3500 Krems Öffnungszeiten: jeweils DO 18-22:00, FR 14-22:00, SA 12-22:00 ANFAHRT Bahn > Vom Bahnhofplatz > links in die Edmund Hofbauer Straße > dem Straßenverlauf bis zur Utzstraße folgen> bis zum Messegelände folgen. (5 Gehminuten vom Bhf Krems) Auto > Schnellstraße S5/Bundesstraße 3 > Abfahrt Krems Zentrum > Bertschingerstraße durch Unterführung Bahn > Heinemannstraße (Parkplatz gegenüber BORG) > Edmund Hofbauer Straße bis Ecke UtzstraßeShuttlebus > Tickets nur online buchbar via http://www.donaufestival.at/tickets/preise
solo show at rosa santos gallery  scroll down
compass Site specific installation (in the frame of ON. Luci di pubblica piazza) For 2 weeks a construction crane, in the middle of the city of Bologna, was transformed into a gigantic compass by adding neon signs. The compass would always point nord regardless of it´s movement. photos: Chiara Balsamo & Anna De Manicor scroll down
Triennale Linz 01 Partecipation in the Triennale Linz 01 in museum Lentos. Contemporary Art in Austria 3 June – 26 September 2010 Opening: Thursday, 3 June 2010, 2 pm On the Wings of Linz09 Linz continues with the impetus from the Capital of Culture year 2009 to     present a compact selection of generations of artists significantly working in Austria today. Together, the State Gallery Linz, LENTOS Art Museum Linz, and the OK “Offenes Kulturhaus†Upper Austria show a representative cross-sectional time line through the current local art scene, positioning Linz as a center of Austrian contemporary art. Three Institutions – Three Exhibitions – One Art Event The result is three exhibitions, each of which works by itself – but it is first in their totality that they can do justice to the pluralism of what is currently happening in art and give it a broad space. With the TRIENNALE LINZ 1.0, Linz offers the cultural event of summer 2010. The unfamiliar, hardly yet publicized, expanded with what is already renowned together with what has been specially developed for this show, this results in a fascinating spectrum. Accompanied by projects and performances in public space, LENTOS, OK and the State Gallery artistically stir up the city of Linz in 2010. curated by: Stella Rollig with Thomas Edlinger and Nina Kirsch ( LENTOS Kunstmuseum Linz) Martin Hochleitner, Stefanie Hoch, Rainer Iglar, Michael Mauracher ( State gallery linz), Sandro Droschl, Martin Sturm, Genoveva Rückert, Julia Stoff FChristine Dollhofer ( OK offenes kulturhaus OÖ )more info : www.triennalelinz.at LENTOS KUNSTMUSEUM LINZ Ernst-Koref-Promenade 1, A-4020 Linz Tel.: +43 (0)732/7070-3600 bzw. 3614 Fax: +43 (0)732/7070-3604 email: info@lentos.at Öffnungszeiten täglich 10-18 Uhr, Donnerstag 10-21 Uhr
constant sun Performance and documentation. 2010 During winter of 2010 for one month, in concomitance with an exhibition in a Viennese gallery, I traveled around Europe, following the directions given by a team of the center for meteorology for Austria (ZAMG), as partners of the Project. They daily predicted the locations in Europe, within a range of max. 500 Km from my current position, where most hours of sunshine were expected. In this way I was able to follow the sun and constantly be under it. My route was daily communicated also to the gallery, where on a map of Europe they lined out the travel. Leaving at the Vernissage and returning 8000 Km later to the Finissage the project was completed. constant sun route: Wien-Györ-Budapest-Ljubljana-Rosenheim-Frankfurt-Leuven-Paris-Marseille-Nice-Pisa-Venice-Karlobag-Keszthely-Prag-Dresden-Wroclaw-Wien photos: Aldo Giannotti, Pablo Chiereghin, Coralie De Gonzaga scroll down
constant-sun-text.doc a project in collaboration with ZAMG and Galerie Robert KastowskyDECEMBER / JANUARY ALDO GIANNOTTI & STEFANO GIURIATI : VIS-À-VIS 12 december 2008 - 31 january 2009 tue & thu 17:00-20:00, and on appointment opening: 11 december 2008, 19:00 ...to be continued lerchenfelderstraße 65, 1070 wien, österreich www.tobecontinued.at AN ANGLE OF 180 DEGREES IS A STRAIGHT LINE OR HALF A CIRCLE 28 november 2008 - 3 january 2009 tue-sat 17:00-21:00 opening: 28 november 2008, 20:30 galerÃa rosa santos c/bolserÃa 21, 46001 valencia , españa www.rosasantos.net
Busy November! AN ANGLE OF 180 DEGREES IS A STRAIGHT LINE OR HALF A CIRCLE 28 november 2008 - 3 january 2009, galerÃa rosa santos / valencia www.rosasantos.net KONSTRUIERTE WIRKLICHKEITEN 11 november - 10 december 2008, fotogalerie wien / vienna www.fotogalerie-wien.at THE TROJAN HORSES 7-9 november 2008, 14 studios all around vienna http://offspacecenter.com/trojanhorse/ ITALIAN SQUARE 15 october - 15 november 2008, das weisse haus / vienna www.dasweissehaus.at SLOT MACHINE 24 september - 21 november, schottentor-passage / vienna www.koer.or.at
untitled DVD PAL 5:00 min 2008 in collaboration with: Lucas Cuturi, Georg Eckmayr, Wendelin Pressl, Lea Titz camera: Nina Dick, Johannes Kubin
Coffee Bolognese – contro il logorio della vita moderna DVD PAL 4:10 min 2007 in collaboration with Markus Hofer
Posing Project B / The Art of Seduction at ImpulsTanz Vienna Posing Project B / The Art of Seduction Chris Haring & Liquid loft ImpulsTanz - Vienna International Dance Festival 8, 10 & 11 August 2007 Semper Depot 21:00 Dance and performance: Luke Baio, Stephanie Cumming, Alexander Gottfarb, Katharina Meves, Anna Maria Novak Artistic director and choreography: Chris Haring Komposition, Sound: Glim (Andreas Berger) Visual concept: Aldo Giannotti Dramaturgy: Thomas Jelinek Theory: Katherina Zakravsky Video: Michael Loizenbauer Coproduction: Tanzquartier Wien, ImPulsTanz Vienna International Dance Festival, La Biennale di Venezia. Supported by the arts and culture department Vienna and the Austrian Federal Chancellery (section for art). How to seduce a world The Posing Project series tell about the art of being, of impressing, of seduction and the art of modelling a multilayered body with black humour and ambidextrous virtuosity into a weird and impressive personality. Impressive stereotypes are advertised to seduce. In this environment not the pose by itself but the method of posing is the main focus. Posing Project investigates the art of innovative profiling and its direct influence on the recipient. It researches cultural patterns of communication. In this case the pose is the expression of an attitude which transports complex denotations in a social context. Liquid loft is interested in the relationship between contemporary dance and other contemporary art genres and therefore creates its own forms of development and improvisation. The current method of working with acoustic spaces on stage can be read as individual style of Liquid loft. Chris Haring & Liquid loft - www.liquidloft.at Impuls Tanz - www.impulstanz.com
…and the Golden Lion for the Best Performance goes to… us!!! Golden Lion for Best Performance at the Venice Biennale: Chris Haring & Liquid Loft Posing Project B - The Art of Seduction artistic direction and choreography: Chris Haring dramatisation: Thomas Jelinek theoretical contribution: Katherina Zakravsky original music and ambiance: Glim (Andreas Berger) cast: Stephanie Cumming, Katherina Meves, Alexander Gottfarb, Anna Maria Novak, and Luke Baio visual concept: Aldo Giannotti video: Michael Loitzenbauer organisation: Jessika Wyschka, SODAart.at production: liquid loft, La Biennale di Venezia with the contribution of Progetto Europeo Cultura 2000 within the danceWEB Europe network in collaboration with Impulstanz international dancefestival Vienna, Tanzquartier Vienna, MA7 - City of Vienna, arts department Vienna, The Austrian Federal Chancellery NEXT SHOWS: 8, 10, 11 August 2007 Semper Depot, 21:00 ImPulsTanz - Vienna International Dance Festival The Liquid Loft company, founded by choreographer and dancer Chris Haring together with the artists Andreas Berger, Thomas Jelinek and Stephanie Cumming, garnered awards at the ImPulsTanz Festival in Vienna in 2006 for its last creation, Running Sushi, a performance in 12 scenes that the spectator chooses from to compose a new story, exactly like at a running sushi restaurant where every dish is different. The Vienna Festival has since commissioned a work from the company based on the theme of the 5th International Festival of Contemporary Dance and in co-production with La Biennale di Venezia. Thus Posing Project came about, which, as the title suggests, is a project that will be developed over two years and is structured in three phases: The art of wow, presented in Vienna, The art of seduction, making its world premiere in Venice, and The art of self reflection. ‘How do you seduce the world?’ asks Chris Haring, continuing his reflection on contemporary reality that began with Running sushi, which tackles art and its fruition. Posing Project is an investigation into what today banally and obsessively goes by the name of ‘image’, which involves the subject as much as the receiver, and which culminates in the obviousness of its stereotype par excellence: advertising, with all its power of seduction. Concerned not so much with the ‘pose’ in itself, but the ‘method of posing’, Chris Haring, the leader of an artistic company consisting of members coming from different fields, such as the musician Andreas Berger and the visual artist Aldo Giannotti, constructs his performance within a sound environment capable of modelling and modifying the dance itself. Before founding his own group, the Viennese Chris Haring was a dancer with the DV8 Physical Theatre and Nigel Charnock, as well as founding the Grenztanz festival in 1995; he has created two video performances in association with the artist and multimedia composer Klaus Obermaier, D.A.V.E. and Vivisector; Fremdkoerper, inspired by the cybernetic scenarios of science fiction films, won an award at the Tanzquartier Vienna and was nominated best performance of 2004 in Lyons. As Liquid Loft’s choreographer, as well as Running sushi and the new Posing Project, he has also created Kind of Heroes (an award winner at the Burgtheater in Vienna in May 2005) and My Private Bodyshop (an award winner at the Tanzquartier Vienna in October 2005), both presented in Brussels during the Austrian presidency of the EU and at the Tanzplatform 2006.