News--米饭 mǐfàn Austria is in China and China is in Austria

米饭 mǐfàn Austria is in China and China is in Austria

【 Click:25904 Date:2009/11/13 Editor:彭越】

Ulrike Johannsen

Response

In her paper collages, Ulrike Johannsen plays with the points of contact between individual mythologies and those pertaining to popular culture. Working within a strict concept, Johannsen pieces together song lyrics from individual letters cut from magazines and advertising bills, and then she pastes these back into magazines or advertising bills. The letters that form the collage can barely be perceived at first glance weaving their way through the magazine like a secret subtext. Playing off articles and adverts, these written insertions create new meanings, which comment on and frequently counter the original advertising messages and their attempts to exhort. As a trace of active intervention, the handiwork of cutting and pasting the letters is diametrically opposed to the smooth aesthetic of the glossy magazines. Response is two magazines created using cuttings. The work is dedicated to the Chinese artists: Qiu Zhijie and Jia Zhangke. In the first magazine No , as a reference to Qiu Zhijie`s work Tattoo II, every “No “character has been cut from the text and pasted back onto the images of the fashion magazine. In the second magazine, Sky, Johannsen using the same technique cutting out and collecting the characters to piecing together song lyrics. Sky is both the magazine’s name and the name of a song by the chinese popsinger Wang Fei sung in a key scene from the movie Xiao Wu by filmmaker Jia Zhangke.

Ronald Kodritsch

Ronald Kodritsch’s artistic field is a media-pluralistic one. The constant move from traditional media such as painting and drawing to 
photography and motion pictures is primarily rooted in the intention to depict the self, the image of the artist – whether as authentic mirror image 
or as staged distortion of reality. The artist meanders in a dream-like state through his personal paradise, which gets smashed through the harsh 
and banal reality, which Kodritsch sarcastically reflects.  Kodritsch’s performance in painting, photography or video is slightly arrogant, with a 
great deal of entertainment, a humorous attitude and irony also towards the self, and quite nonchalant. Seeming vanity turns into consciously triggered 
and self-destructive clownishness. In his art, Kodritsch leaves room for his own dreams.

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