Sculpture – Transmedial Space
Overturn something, throw it up in the air and repeat one hundred times. Caress the moon.
Detach something from its enveloping structure; digest something and then eliminate it from your system. Bake a tractor. Refrain from starting something. We are looking for people to fumble together with us in the field of art. In the space of sculpture, for example, and wherever this space may be. In the traditional sense for example: objects and spatial installations done in classic-style materials such as saliva, tears and lipstick, but also using such exotic resources as plaster, plastics, rubber, wood, stone, water and pineapples. Using sound and smoke, using movement, magnetism, light and heat as well as your own body and bodies that are not yours. Words and thoughts are suspended in and around the artworks. Each of these follows a form of logic and, conversely, a logic of form. We learn to scribble, and logic laughs at us from our scribblings. The artwork evolves, it lurches, wobbles and yet becomes more and more precise, is happening in the tautly stretched timber and metal workshops, in the plaster and exhibition rooms, in studios, along evacuation routes, on kerbstones and in trouser pockets. How should one make an “exhibition”? How should one deal with the dynamics of space? And with the dynamics of the thought-space of art. As training goals, we should mention letting-go and falling-through, so that one’s own plum can drop from the tree, and thoughts can mature into flourishing mould. An initial spark to unleash the energy that drives every individual into his or her specific, unique direction.
Empathy for materials and vibrations of space and context interference patterns. Touching feeling.
Sensitivity for different settings. Implementing. Implanting.
Detach something from its enveloping structure; digest something and then eliminate it from your system. Bake a tractor. Refrain from starting something. We are looking for people to fumble together with us in the field of art. In the space of sculpture, for example, and wherever this space may be. In the traditional sense for example: objects and spatial installations done in classic-style materials such as saliva, tears and lipstick, but also using such exotic resources as plaster, plastics, rubber, wood, stone, water and pineapples. Using sound and smoke, using movement, magnetism, light and heat as well as your own body and bodies that are not yours. Words and thoughts are suspended in and around the artworks. Each of these follows a form of logic and, conversely, a logic of form. We learn to scribble, and logic laughs at us from our scribblings. The artwork evolves, it lurches, wobbles and yet becomes more and more precise, is happening in the tautly stretched timber and metal workshops, in the plaster and exhibition rooms, in studios, along evacuation routes, on kerbstones and in trouser pockets. How should one make an “exhibition”? How should one deal with the dynamics of space? And with the dynamics of the thought-space of art. As training goals, we should mention letting-go and falling-through, so that one’s own plum can drop from the tree, and thoughts can mature into flourishing mould. An initial spark to unleash the energy that drives every individual into his or her specific, unique direction.
Empathy for materials and vibrations of space and context interference patterns. Touching feeling.
Sensitivity for different settings. Implementing. Implanting.
Head
Univ.-Prof. Mag.art. Ali Janka
Univ.-Prof. Tobias Urban
Contact
Univ.-Ass. MMag. Sophie Thun
sophie.thun@kunstuni-linz.at
Univ.-Ass. Mag.art. MA Julia Rublow
julia.rublow@kunstuni-linz.at
Kunstuniversität Linz
Department of Sculpture –
Transmedial Space
Domgasse 1
4020 Linz | Austria