© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
© Rosa Rendl, REJECTION, Kunstraum Weikendorf, 2019, Foto: Wolfgang Woessner
 

rosa rendl


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rejection



Rosa Rendl, who studied after her fashion diploma in Hetzendorf, photography in London, uses two components - the textile and the photographic picture - in her artistic work again and again in varying contexts, to create the media links in different reference systems and bring them in exchange with each other. So also for her project Rejection in the Kunstraum Weikendorf.

On the floor and on the walls you can see white carpets, which colors, each carrying one of five concepts repetitively on the rapport: Fear, Ego, Response, Opportunity and Rejection. The combined with the carpets Photographs show details of interiors, furniture or table settings, But they do not reveal the contexts they come from.

Carpets are a global symbol of domesticity and security; Oriental or Persian carpet in our latitudes has long been a natural part of interior design. On the one hand, the rugs staged by Rendl in the Kunstraum on the walls and on the ground deliberately aim to elicit these collectively anchored references in our perception in order to simultaneously question them in a larger context. Although they have kept the textile moment in the exhibition, they have discarded everything "domestic". Instead, the concepts are striking and begin a dialogue with us and our relationship to them.

The terms are emotional states, psychological ascriptions, emotional states. The arrangement of textiles in space creates a kind of speculative coordinate system of these feelings or attitudes, in which we invariably re-locate ourselves permanently during the viewing process. The photographs set a counterbalance to the aesthetics of the carpets and move the terms abstractly but readable into a private, sometimes into a social context.

In her work, Rosa Rendl subtly and multilayeredly deals with topics and sensations on the threshold between privacy and the public; often synonymous with social media. For her project in Weikendorf, she takes up this transition in order to raise and discuss other dualisms, such as inside and outside, closeness and distance, in addition to the above-mentioned opposition. A central aspect of the artist is that the personal sphere is always regarded as part of a larger social context and these two areas are inextricably in exchange stand together - we are the variables in this system.
To the pictures of the opening ...


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