i could do so many things in so many ways
As I am very interested in production circumstances and representation and how performances care about objects in space, I am directing things like myself as objects in the space. My idea of a live performance is more an exhibition than an event. This includes different time and space factors, as well as actions that are performed in the field. Where is this space? Is it an exhibition space, a theater space or a inszenierter Raum? Are there people in the space who are not performing? With Rancière, the gaze is already an action and in order to this, performative/a performance. Where is their position and what does it signify? Is the exhibition space suitable for a performance? Is the space the stage or is there a stage in the space?
My works are performances, either in a transmedial way (sound, text, objects, screens) or without any additional media, though still dealing with the issue of their possible reference systems.
The sound I use is inspired a lot by the score as a structure that is related to movement and space as well as to an instrument.
The piano was a dominating element in my performances between 2009-2013, not only as an instrument, but more as an object. It is a thing, that can be played and climbed at (paino climb), used in a performative way or defamiliarized.
My texts are songs, poems, excerpts, reductions, explications, descriptions or fragments which are related to movement, tones and rhythms.
Additionally, I am dealing with subjects of art theory and cultural science. My diploma thesis in this field of study, entitled Performance as curatorial practice on the basis of the concept La Monnaie Vivante by Pierre Bal-Blanc, as well as my performance body of exhibition are focusing on the curatorial concept as a performative concept (or the other way around) and on performance in the exhibition context. The written work as well as the performance problematize positioning and contextualizing; how living objects and not-moving subjects are situated next to each other.
The anchoring and the visibility of performance in the exhibition space and within the fine arts context is a central topic in my works. This matter is very actual indeed in contemporary art - especially the question how different time frames and durations of performances and other objects could exist next to each other in one space and how borders, hierarchies are made visible in order to emphasize on the diversity of forms and to encourage their equivalency.
Among this, I finished a book in 2016 which considers this framework while opening up the antagonisms. It lays open my 5-years-research on performance in the exhibition context and attempts to widen the term of artistic research in direction of performance. With There is no stage (body of exhibition), I would like to shape a plateau for contextualizing performance within the fine arts.
das weisse haus, hegelgasse 14, 1010 vienna!
Nina Herlitschka, 2017
born 1982 in Mödling/Austria, lives and works in Vienna. Studies include Art Theory/ Cultural Studies and Fine Arts/Performative Art at the Academy of Fine Arts Vienna, Freie Kunst at the Bauhaus University Weimar and Photography/audiovisual media at the Graphische, Vienna. 2015-2016 University Assistant/ Lecturer at the Department of Site - Specific Art/University of Applied Arts Vienna. Group Exhibitions: Zwischen Sehen und Hören, Kunsthalle Luzern (2013); Out of the Box, MAK (2013). Publications: Die Wucht des Widerstandes (with Bettina Steinbrügge), in: Wiebke Grösch/Frank Metzger: Werkkatalog (2005-2012), Revolver Publishing Berlin (2012).
Förderungsstipendium/ Academy of Fine Arts Vienna (Bundesministerium für Wissenschaft und Forschung) (2012), Emanuel und Sofie Fohn-Grant (2013), BMUKK Travel Grant Literature (2014), Working Grant Bundesministerium für Wissenschaft und Forschung (2015/16).
© Nina Herlitschka 2017
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