2015 started with a totally fresh work, and it started in New York City. Here’s the leaflet:
“Lena Lapschina presents ‘Yes/No,’ an installation for Open Source Gallery.
In Lapschina’s work, communication is key. Lapschina is well-known for her systematic and methodical investigation into social issues through the exploration of malfunctions and opposing factors. She explores not only the outcomes of choices, but what opportunities are being missed by having to choose. ‘Yes/No’ is a spatial installation of two light objects produced from neon. Illuminated against a stark background and obscured by the particles emitted from a fog machine, two choices are clear with little in between but a limbo: ‘Yes’ and ‘No.’
Visitors are welcomed into a space where they may move freely between dualities without reaching a decision. However, while the viewer is free to choose, one may not have the choices of ‘Yes’ and ‘No’ simultaneously. On one side there is the affirmative of ‘Yes,’ but by simply turning around, it now becomes ‘No.’ In ‘Yes/No,’ opposing ideas do not clash, but still remain on opposite sides of the coin.”
During Vienna Art Week, I had a mini-show in a twelve-room apartment aka the Viennese studio. Old friends, like my neon sign “Girls wanted”, the pizza-boxed video series “17 Sekunden Kunst”, the Wittmann-manufactured cushions “Art-Free Territory” and the Mercedes-Benz tribute photo series “Communication”, joined forces with brand new stuff, like the installation “Curators’ Water”, the light-boxed photo series “Some things that long time do not exist” (Duratrans, light-box, crank), the xerography-inspired, Teheran-produced work “Role Models” (edition: 1), the photographed alphabet “Trees and poets, citified” (Dibond) and the post-future of painting series “Stuff”. Visitors also got a chance to preview the video series “Message to the World” while hanging out at the bar, and to engage in the participatory media installation “Get Fit With Dr. Lapschina”.
N.B.: “Thank you” to everyone who made this exhib possible, and especially to Mario Codognato for more than an hour of questions and answers.
Wanna see my marvellous studio? Well, there has never been a better opportunity than on November 22. Mario Codognato and I will exchange ideas during an open talk at 4 pm. 1-click-iCal here. Navi here. (For those without a navi: Guglgasse 15, Level 4. Métro: U3 Gasometer.) Bread and butter. Joya Cappuccino and … much more! And even goodie bags!
Mr. Codognato is Chief Curator at 21er Haus, the contemporary flagship and future lab of Belvedere.
Ash, Beech, Cedar, …, Xenophon, Yonge, Zola: Trees and poets spread across the urban space, thus forming it and holding it together. Although it looks like a simple idea, the system of alphabetically ordered street names (as we often find it in the U.S.) indeed tells complex stories about the historical, current and even future developments of urban conglomerates.
“Trees and poets, citified [The urbanist’s alphabet]” is a research project by Lena Lapschina on urban structures, street life and visual user-interfaces of big cities. A solo exhibition at the Kaunas Photography Gallery assembles a cycle of twenty-six photographs.
This November, in Vienna’s 11th arrondissement, all eyes will be on whom? Ah, we must look like citified dandies to them!
I’ll have a solo-show at the new 4th floor gallery at the Office Campus Gasometer. This exhibition is part of European Month of Photography – eyes on Vienna. Pre-view on Nov. 5th, 6 p.m. Details here: http://bit.ly/1yGS4DR (english), or here: http://bit.ly/1toN0Vn (deutsch). Directions here. Catalogue (ISBN: 978-3-902993-03-8) here.
Come say hey and enjoy irresistible snacks & drinks!
Dresden is celebrating the 8th edition of “Ostrale – Internationale Ausstellung zeitgenössischer Künste”, and I was asked to deliver an in situ work right at the entrance of this huge show at the old (and famous) slaugtherhouse. I did use tape again – red tape, to be precise.
The piece covers about 70 square meters. It shows a young lady, ornamental elements and a “writing on the wall” (which suggests that the artist might have vanished before completion). I could have called it “Selbstbildnis mit Auerhahn” (“Self portrait with grouse”), which would have been kind of correct. But I thought I should place emphasis on the text part. The display tag now says “Back on Tuesday”.
Visitors of the “Behausung” exhibition in Sëlva, Italy, will find a new photo series of mine: “Some things that long time do not exist”. Six photographs, assembled into a diorama-style lightbox and switched by means of a crank, are dealing with the subject of leaving – and leaving something behind. Catalogue in German, Italian and Ladin languages.