Garnicnig, Bernhard

Profilbild
E-Mail-Adresse
Geburtsdatum
Projekt
Organisationseinheiten
Berufsbeschreibung
Nachname
Garnicnig
Vorname
Bernhard
Name
Garnicnig, Bernhard

Filter

2019 - 201912020 - 20223
Filter zurücksetzen

Einstellungen

Thema: 700 - Künste und Unterhaltung ×

Suchergebnisse

Gerade angezeigt 1 - 5 von 5
  • Vorschaubild nicht verfügbar
    Publikation
    What Do We, As An Organization, Provide For Artists?
    (Galerie Elisabeth & Klaus Thoman, 08.09.2022) Kolb, Lucie; Garnicnig, Bernhard; Artist Project Group [in: What can artists do now?]
    14 - Ausstellungsbeitrag
  • Vorschaubild nicht verfügbar
    Publikation
    Teaching Instituent Practices
    (04.02.2022) Kolb, Lucie; Garnicnig, Bernhard
    06 - Präsentation
  • Vorschaubild
    Publikation
    Interviews with the Swamp Thing, the Poacher and the Healer
    (11.12.2020) Kolb, Lucie; Garnicnig, Bernhard; Allen, Jamie [in: Passepartout]
    Interactions with and within institutions have characteristic qualities, styles, personalities, and tone. These aspects of institutional life are difficult to capture through formal description or professional obligation. Institutions comprise performed characters, each activating infrastructural scenography in their way, infusing physical, procedural architectures with particular tonalities. How might we trace these performers? What are these performances, and for whom are they enacted? Transcribed here are conversations with essential practitioners. These are the characters of art institutions, tracing outlines of who they are and what they do, and how they perform it. Necessarily veiled and anonymized, these personnel profiles have monikers following their ways of life within the institution: Swamp Thing, Poacher, and Healer. They recount and refract dimensions of the critically indivisible person-professional-practitioner entities that people in arts and cultural institutions find themselves impelled or compelled to become. Such exchanges about practices in institutions reveal how these contexts demand that we enact reactionary and curative roles, composed within the constraints and affordances of the scenographic infrastructure of buildings and publications, policies and procedures, presumption, and tradition.
    01A - Beitrag in wissenschaftlicher Zeitschrift
  • Vorschaubild nicht verfügbar
    Publikation
    Designing Community
    (2019) Garnicnig, Bernhard
    A lecture-performance contribution to the proceedings of "Designing Community" at Espace Niemeyer. A collaboration with Lucie Kolb and Bernhard Garnicnig, "Capricious Characters of the Community: Let’s see how this plays out", play-acted the ever-present and unpredictable tonal qualities of communal interactions that limit and afford particular modes of participation. The presentation asked the audience to created character profiles which reflected performed institutional and collaborative roles, evoking how these reverberate through other, artificial means of satisfying the need we have to work together toward practical action.
    06 - Präsentation
  • Vorschaubild nicht verfügbar
    Publikation
    My Holy Nacho
    (Nikolaj Kunsthal, Kunsthal Aarhus, Linz FMR, ) Allen, Jamie; Garnicnig, Bernhard
    My Holy Nacho (2014-2019) is a network-sculpture made out of misunderstandings, with Bernhard Garnicnig. It comprises many media and forms, object and temporal, including aspects of Unboxing, Diagramming, Ordering, Sectioning, Shipping. The project investigates the materiality of labour, online ordering and command and control in the digital sphere, performing a durational, transactional and transnational project that spans multiple years (2014-2019). For My Holy Nacho, a single object has been sent to different manufacturers and workshops to have various ‘processes’ applied to it via the ease of 'clickable' interfaces. In secret, and in turn, the two collaborating artists choose each process. The work interrogates the mysterious infrastructures activated when you click the ‘submit’ or 'send' button in a browser. This is a seemingly simple act that initiates the churning of global economies—a warehouse worker in a distant country fills a box, or a machine whirs into motion in a factory somewhere, filling out the order form, procedurally responding to our online commands. For much of the project, My Holy Nacho, as a final, sculptural object remains a mystery even to its creators. A single object is sent to different manufacturers and workshops to have various ‘processes’ applied to it. Each process is chosen, in secret and in turn, by the collaborating artists. After 10 processes, the object — whatever it looks like and whatever it becomes — is complete, and made public. The project is inspired by and named for Bauhaus artist László Moholy-Nagy, whose Telephone Paintings (1922) inaugurated a way of exploring the affordances of miscommunication and telecommunicative action-at-a-distance. The title, My Holy Nacho, also stems from a mis­hearing of the name Moholy­-Nagy; a mumbly mispronunciation in a Canadian accent to an Austrian not­-so­-native English speaker during a conversation in a pub in the UK. These are examples of the deformations, distances and gaps between our ideas, languages, technical systems, processes, and markets, their inherent creativities and potentialities. Presentations with the Nikolaj Kunsthal, in conjunction with Kunsthal Aarhus and their online commissioning of Order: My Holy Nacho, along with further actions with LINZ FMR and project publications. Portions of the project were created in dialogue with Mela Dávila Freire and Robert Jackson, with the help of Sóley Mist Hjálmarsdóttir, the support of Andreas Brøgger, and in collaboration with Moritz Greiner-Petter and the Barcelona graphic design studio Cosmic.es.
    13 - Ausstellung