Jetzt REICHt's (it's ENOUGH now)
During the Exhibition/Presentation Event "unsichtbare Orte" (unvisible places) by Kordula Lobeck de Fabris (Magdalena Season 2018, Munich) I sit and weave rugs from torn shirt of my late father. While there are other things going on in the space like performances and exhibitions I offer to the audience a place to sit at a table in front of me.
On a list I enter the numbers that guests are telling me regarding their income and expenses (rent, food, leisure, office), their age and the number of their children. At the end of the conversation, after I explain the peculiarities of my carpet making, I make them estimate the value of the carpet and invite them to participate in my exhibition on the subject. For this we both put our fingerprints on handmade paper and I write by hand the data of the exhibition on it. I ask them to bring it with them to the exhibition.
Both in the exhibition and in this performance, I deal with the precarious financial situation (mine!) as an aging female artist.
Grants and official support usually go to younger artists, in public announcments there are mostly age restrictions. If, as a maker of ephemeral art, I have not created marketable objects, how can I secure my livelihood? With the carpet, I create at first sight an apparently usable object, a so-called handicraft. However, the fact that the material was already used in a performance eight years ago and comes from my late father's wardrobe transforms the object into a piece of art. The participants estimate the value of the object in relation to their own work background. Self-employed from the artistic field give much more value to it than people in permanent employment.
They also give more readily information about their financial circumstances than people with secure incomes.
I also look at my exhibition “jetzt REICHt’s” (“its ENOUGH now”) how an artist of my own age can make a living from her art. All objects exhibited there are "homemade" and useful, but all have an individual history that transforms them into objects of art, also the individualised invitation card.
On a list I enter the numbers that guests are telling me regarding their income and expenses (rent, food, leisure, office), their age and the number of their children. At the end of the conversation, after I explain the peculiarities of my carpet making, I make them estimate the value of the carpet and invite them to participate in my exhibition on the subject. For this we both put our fingerprints on handmade paper and I write by hand the data of the exhibition on it. I ask them to bring it with them to the exhibition.
Both in the exhibition and in this performance, I deal with the precarious financial situation (mine!) as an aging female artist.
Grants and official support usually go to younger artists, in public announcments there are mostly age restrictions. If, as a maker of ephemeral art, I have not created marketable objects, how can I secure my livelihood? With the carpet, I create at first sight an apparently usable object, a so-called handicraft. However, the fact that the material was already used in a performance eight years ago and comes from my late father's wardrobe transforms the object into a piece of art. The participants estimate the value of the object in relation to their own work background. Self-employed from the artistic field give much more value to it than people in permanent employment.
They also give more readily information about their financial circumstances than people with secure incomes.
I also look at my exhibition “jetzt REICHt’s” (“its ENOUGH now”) how an artist of my own age can make a living from her art. All objects exhibited there are "homemade" and useful, but all have an individual history that transforms them into objects of art, also the individualised invitation card.