{"id":14715,"date":"2024-04-30T14:56:19","date_gmt":"2024-04-30T12:56:19","guid":{"rendered":"https:\/\/www.reinisch-graz.com\/?post_type=exhibition&p=14715"},"modified":"2024-05-16T16:04:14","modified_gmt":"2024-05-16T14:04:14","slug":"sos-sabine-wiedenhofer","status":"publish","type":"exhibition","link":"https:\/\/www.reinisch-graz.com\/en\/exhibition\/sos-sabine-wiedenhofer\/","title":{"rendered":"SOS - Sabine Wiedenhofer"},"content":{"rendered":"\n

SOS – Sabine Wiedenhofer<\/h2>\n\n\n\n
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Opening on Wednesday, May 8 2024, 7.00pm<\/p>\n\n\n\n

Galerie Reinisch Contemporary, Hauptplatz 6, Graz<\/p>\n\n\n\n

Introduction: Manuela Schlossinger<\/p>\n\n\n\n

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An expert talk on the topic of \u201cThe artist and the message\u201d will take place on May 11th at 11 a.m. as part of the Graz Gallery Weekend.<\/a>
Participants: Dr. Silvie Aigner (editor-in-chief Parnass), Sabine Wiedenhofer (artist), Dr. Alfred Weidinger (Upper Austrian State Museum Linz), Mag. Manuela Schlossinger (Reinisch Contemporary), Moderation: Martin Traxl (ORF)<\/p>\n\n\n\n

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Sabine Wiedenhofer<\/a> broadcasts a clear message with the `Suspended Words\u2019 group of works. Objects whose NATO cartridges have been defused are relentlessly directed at the viewer, comment on the socio-economic and cultural condition of the present. Ammunition and signal color give the semantic meaning of short phrases visual form. Parallel to the artist\u2018s presentation in Venice, in the context of this year\u2018s Biennale di Venezia, Reinisch Contemporary shows this cycle of works in Graz encompassing.<\/p>\n\n\n\n

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The series of works \u201cSuspended Words\u201d by the Viennese artist Sabine Wiedenhofer \u2013 lettering made from thousands of defused rifle cartridges \u2013 oscillates between different levels of meaning on the one hand and creates drastic comparisons by integrating ammunition into semantic contexts on the other hand, without forcing answers on the viewer.<\/p>\n\n\n\n

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After the opening of her exhibition \u201cSO SORRY, Alea iacta est\u201d in April 2024 as part of the exhibition \u201cGlasstress 8 1\u20442\u201d in the context of the 60th Venice Biennale and the lettering \u201cSO SORRY\u201d shown there, Sabine Wiedenhofer directs the bullets at the visitors of Reinisch Contemporary gallery in Graz. The message is the artist’s visual cry:<\/p>\n\n\n\n

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Sabine Wiedenhofer Venice<\/figcaption><\/figure>\n\n\n\n
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\u201cSave Our Souls\u201d \u2013 an international distress signal in times of war, climate change and the general brutalization of humanity. A symbol of the socio-economic and cultural state of our world, which only we humans can change.<\/p>\n\n\n\n

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Sabine Wiedenhofer SOS<\/figcaption><\/figure>\n\n\n\n

EXPERTTALK: the artist and the message<\/h2>\n\n\n\n
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Art theory of the last 50 years ranges from \u201cdisinterested pleasure\u201d as a prerequisite for assessing a work of art to \u201cart must disturb, art must end social sleep, must be unpleasant, must confront us with problems, must move, must frighten and often even shock us .\u201d These examples from Emmanuel Kant and Erwin Ringel show how widely attitudes differ when it comes to how much content one allows a work of art to have.<\/p>\n\n\n\n

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\u201cParnassus\u201d editor-in-chief Dr. Sylvia Aigner, Dr. Alfred Weidinger (Upper Austrian State Museums Linz), curator Mag. Manuela Schlossinger and the artist Sabine Wiedenhofer will discuss the topic of \u201cthe artist and the message\u201d.
Can art have a message? Can art change the world? And: How political can art be, or how political must art be?<\/p>\n\n\n\n

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