A situating of 3 BURN-IN women artists in times of co | evolution.
When the wind of change blows,
some build protective walls, others windmills.
BURN-IN since 2019 is dedicated to the theme of co | evolution, an evolutionary process that describes the mutual adaptation of two strongly interacting partners to secure and perfect existence and reproduction. The current Corona crisis clearly shows us the enormous importance of sustainable action for all of us. In the private and also in the public context, micro- and macroeconomically. Socially, ecologically and economically, following the three-pillar model of sustainability.
Although we already conceived the theme in 2019 and packed quite a few flashpoints into the call for proposals, the current scenario shows us that the reality is quite different after all, a much more unimaginable one. Even truly polarizing trend researchers did not recognize the now weeks-long global shutdown with 8.5 million infected and soon 0.5 million dead (as of mid-June 2020). How also!
In the exhibition Stop.Think.Move. BURN-IN presents the three artists Isabelle Habegger (CH), Eva Pisa (AT) and Petra Traxler-Pilgram (AT), who make their very personal positions visible to us and stimulate critical thinking.
Petra Traxler-Pilgram shows with her moving figures (referring to Viennese Kinetism) that standstill does not have to be only scary and frightening, but can also provide an impetus for reflection and pause, and in many cases release enormous creative potential. The artist deliberately uses clichés, stereotypes and prejudices to communicate with the viewer on a meta-level as well. The multiple picture titles accentuate the picture contents, steer the associations in different directions, emphasize the multidimensionality of the theme and clarify the complexity of the picture stories, which are mostly in black and white. Three multiple titles - quasi to warm up, which have it in themselves: Elefantöse Zeiten, oder denk (nicht) an den rosa Elefanten (Elephantine times, or think (not) of the pink elephant) | Melancholie oder Weltschmerz oder wer ist da von allen Geistern verlassen (melancholy or world-weariness or who is there abandoned by all spirits) | Influencer oder Influenza? Gefährlicher Virus oder großer Käse (Influencer or influenza? Dangerous virus or big cheese).
Eva Pisa juggles with her already presented in several exhibitions Bindungen.Wurzeln (Ties.Roots). They symbolize the charming, but also painful of the bonds of love in rooted, grown relationships. On the one hand as a constricting corset, on the other hand as an impetus, positive stabilizer and sustainable energy donor.
With the presented works, she oscillates this time between isolation and intra-familial symbiosis. Here, family associations stand for symbiosis, connection, mutual help, common strong roots. This cohesion can be life-saving, especially in crisis situations. But too close relationships can also stifle, inhibit development. The balanced relationship between man and nature, which is increasingly out of balance, especially in times of globalization, requires the utmost attention in the future. The works Hand in Hand (hand in hand), verwurzelt (rooted), Verbindungen (Connections), Spaltung und Isolation/Heimarbeit (Division and isolation/homework) profoundly address the two poles of isolation and symbiosis. With the work vshifted perception shows Pisa that initially unbearable perceived in crisis opens new perspectives, allows new things to emerge and life picks up speed again.
Isabelle Habegger takes up the movement in a completely different form and context. With the works Vom Flow der Persephone (From the Flow of Persephone) and the Installation Klang der Natur (installation Sound of Nature), which were submitted in 2020 for a competition of the Swiss Embassy in Vienna, the Swiss artist deals with nature and its sensuality. Habegger also frequently oscillates between the poles. In the 2016 BURN-IN solo exhibition, she explored the Bewussten und Unbewussten (conscious and unconscious), presenting the moving (monumental kinetic sculptures) and the static. This time she references the classical myth of the Rape of Persephone, in which Zeus falls in love with the goddess of the dead, the underworld, and fertility. Demeter, his jealous sister, boycotts the relationship and in her full despair stops the growth of all plants. The four seasons were born. An inspiring metamorphosis that enters into a tense dialogue with the nearly 200-piece installation, creating a wonderful aura that captivates and moves the audience.
