galerie michaela stock / Messestand G13
viennacontemporary
26.9. – 29.9.2019
Narrative Kriegsgeschichten / stille Bilder des Krieges
Tomislav Gotovac, Giovanni Morbin, Slaven Tolj und Marko Zink
Vernissage: 26.9.2019
Flyer
Die Vergangenheit ist nie tot.
Sie ist nicht einmal vergangen.
So wird die Vergangenheit allmählich zur Gegenwart...
Jean-Luc Godard, «Hélas pour moi – Weh mir» 1993
100 Millionen Menschen kamen im 20. Jahrhundert infolge von Krieg, Vertreibung und Genozid ums Leben. Der 2.Weltkrieg hat bereits innerjugoslawisch massive Gewalt generiert und Jugoslawien war nach dem Zweiten Weltkrieg 1945 als Vielvölkerstaat neu gegründet worden. Nationalistische Strömungen führten nach dem Zusammenbruch des Sozialismus Ende der 80iger Jahre zum Jugoslawienkrieg und somit sind diese zwei Kriege tief miteinander verwoben.
Am Messestand der galerie michaela stock wird das Grauen dieser Kriege durch Performance, Video, Installation und Fotografie gezeigt. Die vier ausgestellten Künstler – Giovanni Morbin (Italien), Tomislav Gotovac (Kroatien), Slaven Tolj (Kroatien) und Marko Zink (Österreich) zeigen gesellschaftlich-politisch Verantwortung, für das was in ihrem Land passiert ist. Die aus unterschiedlichen Generationen stammenden Künstler teilen einen konzeptuellen, performativen Ansatz und haben sich auf ganz unterschiedlicher Weise mit dem Thema beschäftigt und hinterfragen aus den jeweiligen Perspektiven das Erinnern an den Krieg (Zweiter Weltkrieg und Balkankrieg). Doch das Erinnern allein reicht nicht aus, um die Auswirkungen der Vergangenheit sichtbar zu machen, es soll ein Warnsignal - wenn man an die populistischen Tendenzen in ganz Europa denkt - für das Kommende sein.
Die Performancekünstler Morbin, Gotovac, Tolj und der Fotograf Zink zeigen keine ›Schockbilder‹. Die Kunstwerke handeln nicht von Verhungerten und Hingemetzelten und den brutalen Gräuel des Kriegs, sie zeigen auf den ersten Blick eine beinahe Unsichtbarkeit, eine subtile und leise, überlappende Erzählung der Kriegsgeschehnisse. Der Fokus der ausgestellten Kunstwerke liegt nicht auf dem eigentlichen Kampf und auch die geografische Zuordnung ist zeitweise schwer herauszufinden. Nachdenklich oder schockierend wird das Werk erst, wenn man den Kontext des Bildes kennt. Es zwingt den Betrachter sich als Teil dieser Welt zu sehen und seine eigene Historie zu hinterfragen.
Vienna_Contemporary_2019
Tomislav Gotovac, Watch on the Rhine, 1994, performance, video documentation,1 minute, colour, Video: Milan Bukovac, song / music: Billy Holiday "Trav`lin all Alone”. DVD box, open edition, Vienna 2019
With his title for this performance, “Watch on the Rhine,” Tomislav Gotovac was making homage to the American film with Bette Davis from 1943, which has to do with German resistance to National Socialism. This short performance video shows the artist naked on the roof of the House of Artists in Zagreb, his posture and gaze directed towards the West, looking towards the ongoing military hostilities that gripped Croatia at that point during the Yugoslav Wars. Tomislav Gotovac transforms himself into a monumental sculpture that is not only reminiscent of Michelangelo and other artists, but also suggestive of the vulnerability and ephemerality of human beings.
Tomislav Gotovac, Watch on the Rhine, 1994, performance, video documentation,1 minute, colour, Video: Milan Bukovac, song / music: Billy Holiday "Trav`lin all Alone”. DVD box, open edition, Vienna 2019
With his title for this performance, “Watch on the Rhine,” Tomislav Gotovac was making homage to the American film with Bette Davis from 1943, which has to do with German resistance to National Socialism. This short performance video shows the artist naked on the roof of the House of Artists in Zagreb, his posture and gaze directed towards the West, looking towards the ongoing military hostilities that gripped Croatia at that point during the Yugoslav Wars. Tomislav Gotovac transforms himself into a monumental sculpture that is not only reminiscent of Michelangelo and other artists, but also suggestive of the vulnerability and ephemerality of human beings.
Tomislav Gotovac, Watch on the Rhine, 1994, performance, video documentation,1 minute, colour, Video: Milan Bukovac, song / music: Billy Holiday "Trav`lin all Alone”. DVD box, open edition, Vienna 2019
With his title for this performance, “Watch on the Rhine,” Tomislav Gotovac was making homage to the American film with Bette Davis from 1943, which has to do with German resistance to National Socialism. This short performance video shows the artist naked on the roof of the House of Artists in Zagreb, his posture and gaze directed towards the West, looking towards the ongoing military hostilities that gripped Croatia at that point during the Yugoslav Wars. Tomislav Gotovac transforms himself into a monumental sculpture that is not only reminiscent of Michelangelo and other artists, but also suggestive of the vulnerability and ephemerality of human beings.
Tomislav Gotovac, I’ve fucking had it (Pun mi je kurac) 1978, print on aluminium, unique + AP, signed, 25 x 40 cm, framed
Tomislav Gotovac is a perfect example of a conceptual, multimedia artist who used words in various media. He has produced works in which words are not the form, but the content of his expression. Gotovac's best-known statement in various media (poster, book and lecture-action) is Pun mi je kurac. In 1978 the artist published a triptych of prints with the text: Pun mi je kurac (I've fucking had it), Jebe mi se (I don't give a fuck) and Jebo me bog (So screw me God). At the 6th New Tendencies exhibition he performed a lecture-action with the same title. They represent an irrepressible urge to picture language and evidence of the writer's use of words and images to amplify the form and effect of a message. It is obviously a negative expression usually used in anger or despair in order to convey a certain kind of annoyance and revolt towards a person, situation, an institution or politics in general.
Tomislav Gotovac, I don’t give a fuck (Jebe mi se), 1978, silkscreen on paper, published by Happy New Art Gallery / SKC Belgrade, ed 50, signed and numbered copies, 100 x 70,7 cm, framed (available 2 pieces)
Tomislav Gotovac is a perfect example of a conceptual, multimedia artist who used words in various media. He has produced works in which words are not the form, but the content of his expression. Gotovac's best-known statement in various media (poster, book and lecture-action) is Pun mi je kurac. In 1978 the artist published a triptych of prints with the text: Pun mi je kurac (I've fucking had it), Jebe mi se (I don't give a fuck) and Jebo me bog (So screw me God). At the 6th New Tendencies exhibition he performed a lecture-action with the same title. They represent an irrepressible urge to picture language and evidence of the writer's use of words and images to amplify the form and effect of a message. It is obviously a negative expression usually used in anger or despair in order to convey a certain kind of annoyance and revolt towards a person, situation, an institution or politics in general.
http://www.galerie-stock.net/images/tomislav_gotovac/pictures/bilder450px/jebeMiSe_450px.jpg
Giovanni Morbin, Libero, 2007 Cutted vintage book, 21 x 16 x 2 cm, Edition: 3, / Nr.3
Giovanni Morbin work warns us what will happen when borders are closed and in which way lines can be drawn. On the basis of an antiquarian book and a vintage photography / collage, Giovanni Morbin reworks a timeline which has taken place without him. He shows us the line which is glorifying the fascist symbol in a very minimalistic and silent way and gives reference to the danger of the new rise of the extreme right-wing party all over Europe.
Giovanni Morbin, untitled, 2007 Collage on vintage photo, unique, 17,8 x 24cm, framed
Giovanni Morbin work warns us what will happen when borders are closed and in which way lines can be drawn. On the basis of an antiquarian book and a vintage photography / collage, Giovanni Morbin reworks a timeline which has taken place without him. He shows us the line which is glorifying the fascist symbol in a very minimalistic and silent way and gives reference to the danger of the new rise of the extreme right-wing party all over Europe.
Giovanni Morbin, L`angolo del saluto, 2007, Collage on vintage photo, unique, 5,7 x 8,3 cm / 25 x 32 cm, framed
Giovanni Morbin work warns us what will happen when borders are closed and in which way lines can be drawn. On the basis of an antiquarian book and a vintage photography / collage, Giovanni Morbin reworks a timeline which has taken place without him. He shows us the line which is glorifying the fascist symbol in a very minimalistic and silent way and gives reference to the danger of the new rise of the extreme right-wing party all over Europe.
Giovanni Morbin, L`angolo del saluto, 2007, Collage on vintage photo, unique, 18 x 30 cm / 32 x 25 cm, framed
Giovanni Morbin work warns us what will happen when borders are closed and in which way lines can be drawn. On the basis of an antiquarian book and a vintage photography / collage, Giovanni Morbin reworks a timeline which has taken place without him. He shows us the line which is glorifying the fascist symbol in a very minimalistic and silent way and gives reference to the danger of the new rise of the extreme right-wing party all over Europe.
Giovanni Morbin, L`angolo del saluto,2006, drawing, pencil on paper, 39,5 x 5 cm, framed
Giovanni Morbin, L`angolo del saluto,2006, drawing, pencil on paper, 39,5 x 5 cm, framed
Giovanni Morbin, Goniometro, 2007, sculpture, including pedestal, stainless Steel, 51,5 x 24,2 x 2,1 cm, ed 3 (available Nr.3)
Giovanni Morbin, me, 2011, photography, performance/documentation, Milan, unique, 73 x 106 cm, frame
Me is a performance act in which the artist spins on a chair, trying to declaim Mussolini's speech from June 1940, in which he called for war. Morbin keeps spinning, looking like a futuristic sculpture, until he manages to get off the chair and runs to the wall where he writes a big M (standig for Mussolini, and, intimately, Morbin), followed by a small e, which finally makes the word Me.
Giovanni Morbin, Hiccup, 2007, sculpture, Record player, loud speaker, cutted vinyl record (vinyl record: Mussolini`s speech: Speech of Sanctions), unique, 52 x 44,3 cm
Hiccup: cutted record is playing. The LP contains Mussolini's "Speech of Sanctions" on the eve of the war. With each turn of the disc, the head jumps creating a sound interruption, a hiccup. There is nothing worse for a dictator to have hiccups in the middle of a speech .
Slaven Tolj, Valencia - Dubrovnik - Valencia (no title), 2003, photography, Baryta, performance, documentation, ed 3 + 2 AP, 24,5 x 15 cm / 37 x 30cm, framed
In his performance Tolj is undressed to the waist and peels off 12 layers of clothing. Each layer has black buttons attached, as mementos of perished friends during the war. One black button he sews it directly to his chest as an ironic medal.
Slaven Tolj, Food for Survival, 1993 performance, video, documentation, photography, edition: 4+2AP
Slaven Tolj created this performance with his wife at the time, Marija Grazio, in Helsinki. At the time, Sarajevo, Slaven’s former city, was under siege, just as Dubrovnik had been a few years earlier. During that time, aid would be dropped on those cities in the form of dehydrated food products that could be made into a soup by adding water; the packet read “food for survival.” The two artists mixed the soup and covered their bodies with it, eating it off of one another.
Slaven Tolj, Interrupted Games, 1993, photography, Baryta, 113 x 60 cm, ed 3+2 AP (available AP), framed
"Interrupted Games" is featuring children playing squash against the rear facade of the Dubrovnik cathedral. One image captures the exact moment when the ball gets stuck in one of the volutes of a pillar capital, with the children’s movements captured in action. The other photograph is a zoom-in on the trapped ball. This public square was a frequent target for attacks by Serbian snipers during the siege of Dubrovnik, and led children to abandon their favorite playground for many months. The work is subtitled "Pax, Vobis, Memento mori qui, Ludetis pilla" (Peace be with you. Remember you are mortal, you, who play with a ball), which enhances the metaphor contained in the game.
Slaven Tolj, Nature & Society, 2002, photography, performance /Documentation, Brayta, 40 x 60 cm, edition: 3 + 2 AP, 40 x 50 cm, (available ed. 3 / AP), framed
Performance Nature & Society presented by the Museum of Contemporary Art in Zagreb, was based ona spectacular act of relativisation of the traditional family, and, in a broader sense, also of social hierarchy. In the performance the naked Slaven Tolj assumed the demeanor of a fighting animal and stubbornly attacking his own shadow on the wall for several minutes using the antlers of a dear until they were completely destroyed. He inherited the antlers as a symbolic legacy from his grandfather, who took it during the Second World War from a package of official presents designated to the Italian fascist leader Mussolini. Tolj used this rather absurd starting situation for a compact and aesthetically pointed criticism of the historic residua of Balkan nationalism, the recent war events connected with the disintegration of Yugoslavia, and last but not least the patriarchal hierarchy latently present in the Croatian (mostly catholic) milieu.
Slaven Tolj, Nature & Society, 2002, photography, performance /Documentation, Brayta, 40 x 60 cm, edition: 3 + 2 AP, 40 x 50 cm, (available ed. 3 / AP), framed
Performance Nature & Society presented by the Museum of Contemporary Art in Zagreb, was based ona spectacular act of relativisation of the traditional family, and, in a broader sense, also of social hierarchy. In the performance the naked Slaven Tolj assumed the demeanor of a fighting animal and stubbornly attacking his own shadow on the wall for several minutes using the antlers of a dear until they were completely destroyed. He inherited the antlers as a symbolic legacy from his grandfather, who took it during the Second World War from a package of official presents designated to the Italian fascist leader Mussolini. Tolj used this rather absurd starting situation for a compact and aesthetically pointed criticism of the historic residua of Balkan nationalism, the recent war events connected with the disintegration of Yugoslavia, and last but not least the patriarchal hierarchy latently present in the Croatian (mostly catholic) milieu.
Slaven Tolj, Branimir Marković Street, Rijeka, 2015, photography, 18,5 x 28,5 cm / 27,2 x 37 cm, ed 3 + AP, framed
Slaven Tolj, Red cross, 1991, photography, performance/documentation, 21 x 13,5 cm / 38,5 x 31,5 cm, ed 3+AP, framed
Slaven Tolj, Linija, 2003, photography, performance / documentation, 33,5 x 23,5 cm/ 31 x 43,5 cm, ed 3+AP, framed
Marko Zink; I you he she it we you they_1, 2018 three-way picture, direct print on 2mm Dibond, reflective foil, 91 x 128 cm
What matters to Marko Zink is not documentation but irritation. He forces viewers to look carefully, opening up a multi-layered debate. Using the medium of photography, he attempts to make a twofold disappearance visible: the extermination of people and the eradication of memory.
The first view in this three-way picture is a mirrored surface, which only gives a hazy reflection of the person looking at the picture. Zink confronts us with the present as it becomes history. The other perspectives show the massed crowds gathered for a speech by Adolf Hitler in the Dynamohalle in Berlin. The title creates an opposition between the present and history. The viewer is called on to seek reassurance in him or herself.Marko Zink; I you he she it we you they_1, 2018 three-way picture, direct print on 2mm Dibond, reflective foil, 91 x 128 cm
What matters to Marko Zink is not documentation but irritation. He forces viewers to look carefully, opening up a multi-layered debate. Using the medium of photography, he attempts to make a twofold disappearance visible: the extermination of people and the eradication of memory.
The first view in this three-way picture is a mirrored surface, which only gives a hazy reflection of the person looking at the picture. Zink confronts us with the present as it becomes history. The other perspectives show the massed crowds gathered for a speech by Adolf Hitler in the Dynamohalle in Berlin. The title creates an opposition between the present and history. The viewer is called on to seek reassurance in him or herself.Marko Zink, Obliteration_1, 2017, analogue photography, Lambda print, mounted on 3mm Dibond, ed 3+2AP, 56 x 140 cm
The negative was boiled and treated with ink eraser and acid before exposure. The work’s title is taken from Adorno’s essay ‘Education After Auschwitz’. The photo shows the empty roll call area from the viewpoint of the perpetrators in a panoramic image (Greek: ‘to see all’). The photo evokes the impression of a nostalgic shot from the 60s/70s and reflects repression in all its beauty.
Marko Zink, Repetition_2, 2018 analogue photography, pigment print on KOH-I-NOOR, ed 3 + 2AP, 30 x 45 cm, framed
The negatives were boiled, hole-punched and marked with pins . The photograph show a view of the barracks. The photographs were taken from a high vantage point, from a certain distance, and situate the perspective of the perpetrators. The repeating depiction of the same motif is reminiscent of a film loop, of a never-ending coil. The influence of the destructive treatment of the film material portrays atrocity (Mühlviertel Hare Hunt).
Marko Zink, Repetition_3, 2018, analogue photography, pigment print on KOH-I-NOOR, ed 3 + 2AP, 30 x 45 cm, framed
The negatives were boiled, hole-punched and marked with pins . The photograph show a view of the barracks. The photographs were taken from a high vantage point, from a certain distance, and situate the perspective of the perpetrators. The repeating depiction of the same motif is reminiscent of a film loop, of a never-ending coil. The influence of the destructive treatment of the film material portrays atrocity (Mühlviertel Hare Hunt).
Tomislav Gotovac wurde 1937 in Sombor geboren und verstarb 2010 in Zagreb. Tom Gotovac (aka Antonio Lauer) war ein kroatischer Filmregisseur, Konzept- und Performancekünstlers. 1967 realisierte er das erste Happening in Zagreb. Er war vor allem für seine politisch aufgeladenen Arbeiten bekannt, die sich dem kommunistischen Jugoslawien befassten. Ausgangspunkt seiner künstlerischen Arbeiten war immer das Aufdecken alltäglicher Lebensumstände, politischer Manipulationen sowie die Neuinterpretation historischer bzw. politischer Fakten. Das Zusammenspiel von Leben und Kunst spielt im Werk von Tomislav Gotovac eine bedeutende Rolle. Er arbeitete meist mit seinem Körper um Protest in radikalen, emanzipatorischen und anarchischen Ansätzen auszudrücken und stellte sich selbst in den Mittelpunkt. Während Osteuropa seiner politischen und künstlerischen Freiheiten entkleidet wurde, benutzte Gotovac seinen nackten Körper, und entkleidete sich wortwörtlich, um diese Freiheiten zu versinnbildlichen.
Der Performance und post-konzeptualistische Künstler Morbin Giovanni wurde 1956 in Valdagno geboren. Er arbeitet immer mit seinem Körper und schreckt auch nicht vor radikalen, destruktiven Performances zurück, um auf politische oder soziale Missstände aufmerksam zu machen. Seine antiquarischen oder gefundenen Objekte, wie Vintage Fotografien oder Bücher werden geschnitten oder bearbeitet - dabei wird immer wieder die Linie, die das faschistische Symbol verherrlicht, herausgearbeitet. Anhand von einigen kleinformatigen Kunstwerken beleuchtet Giovanni Morbin eine Zeit, die ohne ihn stattgefunden hat. Die Arbeit von Giovanni Morbin warnt uns davor, was passiert, wenn Grenzen geschlossen werden und auf welche Weise Linien gezogen werden können. Minimalistisch verweist er auf die Gefahr des neuen Aufstiegs der rechtsextremen Parteien in ganz Europa.
Der 1964 in Dubrovnik geborenen kroatische Künstler Slaven Tolj erreichte internationale Anerkennung durch seine Installationen, Body-Art und Performances, die ausgeprägte politische und soziokulturelle Kritik widerspiegelten. Der Beginn seiner Laufbahn als Künstler wurde unmittelbar geprägt von seinen Erlebnissen im Jugoslawienkrieg, dem Zerfall des Staates und insbesondere der Eroberung von Dubrovnik durch die jugoslawische Armee in den Jahren 1991-92. Ruhig und aus einem persönlichen, zurückhaltenden Blickwinkel untersucht er die Beziehungen und Hinterlassenschaften des Krieges. Das zentrale Thema seiner Arbeiten ist die Vermeidung direkter Sprache und Bilder, er arbeitet mit Weg- und Auslassungen, zwischen Sichtbarem und Unsichtbarem.
Marko Zink wurde 1975 in Gaschurn geboren und er versucht mit fotografischen Mitteln ein zweifaches Verschwinden sichtbar zu machen: die Auslöschung von Menschen und die Tilgung von Erinnerung. Die von Marko Zink gewählte Kunstform ist die analoge Fotografie. Er bearbeitet seine Filme, eher er sie belichtet. Er kocht, stanzt oder zerschneidet sie, behandelt sie mit Chlor oder Tintentod. Mit diesem filigranen Filmmaterial fotografiert er ausgewählte Orte in- und außerhalb des ehemaligen Konzentrationslagers Mauthausen in Österreich. Manchmal wirken Zinks Fotoarbeiten wie historische Fundstücke, rasch und heimlich aufgenommen, ausgebleicht von der Sonne, halb zerstört durch die Einwirkungen der Zeit. Manchmal scheinen die Fotos mit ihren Beschädigungen auf einer eigenen Ebene von jenem Ungeheuerlichen zu berichten, das sich hier vor weniger als acht Jahrzehnten zugetragen hat. Und manchmal scheint auf ihnen etwas sichtbar zu werden, was nur scheinbar nicht mehr zu sehen ist.
Event / Präsentationen während der Vienna Contemporary
1) Freitag, 27.9, 10 – 12h in galerie michaela stock, Schleifmühlgasse 18, 1040 Wien
Gallery Breakfast in der galerie michaela stock
Helen Carey, Direktorin der Firestation Artists' Studio in Dublin im Gespräch mit internationalen Kuratoren Stef van Bellingen und irischen Performancekünstlerinnen Amanda Coogan, Laura Fitzgerald, Ann Maria Healy, Suzanne Walsh zu der performativen Ausstellung Capture Performance Focus / Ireland, welche über acht Wochen lang in der Galerie stattfindet. Eine Kooperation: Dublin/Irland und Wien/ Österreich
2) Freitag, 27.9, 16 – 18h am Messestand G13
Katalogpräsentation: Marko Zink M 48° 15' 24.13'' N 14° 30' 6.31 E, Mauthausen – Die Tilgung von Erinnerung, mit Autoren und Autorinnen der Publikation
Seit April 2019 wird die Ausstellung M 48° 15' 24.13'' N 14° 30' 6.31 E des Fotokünstlers Marko Zink in der Gedenkstätte ¬Mauthausen gezeigt. Das Buch beinhaltet einerseits die Werkserie, andererseits die Dokumentation der Ausstellungen. Die Autorinnen und Autoren tragen mit ihren Texten maßgeblich zu den verschiedenen Perspektiven der Werkserie bei, liefern darüber hinaus historische, pädagogische und gesellschaftspolitische Einbettungen. Mit Textbeiträgen von Felicitas Thun-Hohenstein, Wolfgang Huber Lang, Thomas Licek, Gudrun Blohberger, Bertrand Perz, Christian Dürr, Felicitas Heimann-Jelinek, Marija Nujic und Barbara Glück, erscheint im Verlag Mandelbaum
3) Samstag, 28.9. um 15 Uhr am Messestand G13
CD Präsentation: Gordan Paunovic "OTHER VOICES - echoes from a war zone" mit Elisabeth Zimmermann
Elisabeth Zimmermann, Redakteurin der Ö1 Sendereihe Radiokunst - Kunstradio, präsentiert die CD des Belgrader Medienkünstlers Gordan Paunovic "OTHER VOICES - echoes from a war zone". Diese CD ist ein Remix von Gordan Paunovics aus seiner 100-minütigen Live-Kunstradio-Sendung, die am 29. April 1999 im Studio RP4 im ORF Funkhaus Wien ausgestrahlt wurde. Es thematisiert die Bombardierung Belgrads, die vor 20 Jahre stattgefunden hat, mit Live Audiostreams, Tagebüchereinträgen und Soundarbeiten. Die CD wird für 10,- Euro verkauft.
Der Erlös kommt einem guten Zweck zu Gute (Frauenhaus in Belgrad).
PRESSE / FOTO / TEXT: Wir würden uns über eine Berichterstattung in Ihren Medien sehr freuen. Hiermit bestätigen wir die Freigabe zur kostenlosen Veröffentlichung aller eingereichten Bilder / Text. Courtesy: Künstler / Galerie Michaela Stock
Weitere Informationen: Michaela Stock, Jelena Garabovac info@galerie-stock.net
Pressetext: Narrative Kriegsgeschichten / stille Bilder des Krieges
Pressebild 1:
Slaven Tolj, Food for Survival, 1993
Fotografie, Baryt, Performancedokumentation / Festival in Helsinki
Edition: 4+2AP, 100 x 70 cm
Foto: Sakari Viika
Courtesy: Slaven Tolj / galerie michaela stock
Pressebild 2:
Tomislav Gotovac, Watch on Rhine, 1994
Videostill von dem Video, Performancedokumentation / Zagreb
DVD / Farb-video, 1,05 min, Sound: Billy Holiday "Lover, come back to me", open edition
Courtesy: Sarah Gotovac / galerie michaela stock
Pressebild 3:
Marko Zink, ich du er sie es wir ihr sie_1, 2018
Lamellenbild, direkter Druck auf 2mm Dibond, Spiegelfolie (Adolf Hitler's Rede in the Dynamohalle, Archiv Fotografie)
Edition / Multiple: 3+2AP, 91 x 128 cm
Foto: Markus Hechenberger
Courtesy: Marko Zink / galerie michaela stock
Pressebild 4:
Giovanni Morbin, Hiccup, 2007
Sound Skulptur (Schallplattenspieler, Lautsprecher, beschnittene Schallplatte / Schallplatte: Mussolini's Rede: Speech of Sanctions)
Einzelstück, 52 x 44,3 cm
Foto: galerie michaela stock
Courtesy: Giovanni Morbin / galerie michaela stock
Pressebild 5:
Gordan Paunovic, OTHER VOICES - echoes from a war zone, Wien/Belgrad 29. April 1999
CD cover
Foto: aus dem Tagebuch von Slobodan Markovic, Belgrad
Courtesy: Goran Paunovic / galerie michaela stock
