| | | |
| |
Irene AndessnerCyberface –A Face Without an Oppositeby Andreas Leo Findeisen, 1999
# REN FAB 31416
# REN FAB 41416
# REN FAB 51416
For more than ten years Austrian artist Irene Andessner (REN) has been working on new contemporary parameters for the self-portrait genre. In order to achieve this end the artist, who studied with Emilio Vedova, Max Weiler and Arnulf Rainer, utilizes photography, video and computer techniques. In her new series of works on the theme of Cyberface the artist has transformed the term "interfacing" from the realm of techno-culture into the realm of art. Her installation explores the spatial relationship between the transformed serial self-portraits of the artist, which appear on the video screens and pictures, and the view in the eyes of the physically present individual observer.Irene Andessner has made an international name for herself through her independent statement on the theme of female self portraits within the charged field between history and the immediate present, of which the most recent example is her cycle entitled "Models, |
 |  | |
|
| | | |
|
| |
|
|
|
| |
Artists of the Artikel-Editionen:
|
Photograph: Thomas Wirthensohn, 2002
Irene Andessner
Following her studies at the Kunstakademie in Vienna (with Max Weiler and Arnulf Rainer) and in Venice (Emilio Vedova), and a scholarship year in Rome (1982), the Salzburg-born Irene Andessner has increasingly concentrated on the self-portrait theme. Taking off from gestural painting in the spirit of the "Jungen Wilden" she soon linked classical painting techniques (oil on canvas) with self-portraits which can be conceptually read as "date pictures". Since the mid-90s she has translated her concepts into the techniques of photography and video. Self-staging through role-play has taken the place of the painted self-portrait. "After-images" of art-historical and time-historical examples such as Sofonisba Anguissola or Constanze Mozart are emerging, as well as sacred (Black Madonna) and fictional (Rachel from "Blade Runner") individuals and modern myths (Marlene Dietrich). In the "I.M.Dietrich" project the role identification goes so far as the assumption of the exemplar’s family name through a real marriage. As "Wanda" she reproduces Leopold of Sacher-Masoch’s ideal image of woman. For the philosopher Peter Sloterdijk her pictures serve as an illustrative example of his definition of "Détrait", with which he indicates a standpoint opposite to that of the portrait: |
|
| |
|
|
