22. - 24. November 2013 Performancedozentur, Fachhochschule Ottersberg, Grundstudium
19. - 21. November 2013 performance workshop with students of Professor David Grahame Shane, Columbia University NYC, visting professor at Aarhus. Short lecture and life performance in the city of Berlin including final report in the Danish Embassy.
noch keinen Lehrstuhl für Performance und Öffentlichen Raum gibt, wurde ich vom
Direktor der Akademie eingeladen, in einem Workshop meine Erfahrungen als
erfahrene internationale Performerin und Professorin weiterzugeben. Mit viel Freude und Enthusmiasmus kommen nun die Ergebnisse dieses Workshops
auf die Strasssen und Plätze von Riga.
9. April 2012, 18:05 Uhr, Wir Heimatlosen - Künstler und Autoren auf der Suche nach einer verlorenen Illusion, BR 2 Thema
Birgit Ramsauer in der Spannung zwischen Heimatsuche und Kosmopolitentum ist eine der Gesprächspartner von Andreas Trojan in dieser Radiosendung.
Zur Einführung: "Die Heimatlosigkeit ist meine Heimat." konstatiert Daniel Spoerri, der
Schweizer Künstler mit rumänischen Wurzeln. Man könnte das als den
selbstbewussten Ausspruch eines "Weltbürgers" verstehen, der sich
überall zu Hause fühlt. Doch bei ihm wie bei vielen anderen ist das
Gegenteil der Fall: der Verlust von Bindung und Zugehörigkeit, ausgelöst
durch die gigantischen Verwerfungen nach zwei Weltkriegen.
Heimatlosigkeit wird empfunden als eine Urangst, aber auch ihr positives
Gegenbild, die Bindung an eine Heimat, ist ambivalent, wie es etwa die
Texte von Elfriede Jelinek oder Thomas Bernhard zeigen: "Heimat" als ein
Ort dumpf-böser Gesinnung. Andreas Trojan im Gespräch mit Künstlern und
Autoren - über den Verlust einer großen Illusion.
Die Gruppenausstellung "Travel" - Graupelwetter von Birgit Ramsauer; kuratiert von Alexandra Rockelmann findet ab 8.3. im Hotel Villa Kastania
statt. Eröffnung am Freitag, 08.03.2012 Ausstellung vom 08.03. - 30.06.2012 : Kastanienallee 20, 14052 Berlin. ...
Die Einzelausstellung "Graupelwetter" von Birgit Ramsauer findet ab 4.2. im Kunstverein SCOTTY ENTERPRISES, im kleinsten Haus Kreuzbergs statt. Eröffnung am Freitag, 03.02.2012, 19 Uhr es spricht Thomas Wulffen, Vorsitzender der AICA. Ausstellung vom 04.02. - 25.02.2012, Scotty Enterprises: Oranienstr. 46, 10969 Berlin. ...
2. Juli 2011, 13 Uhr, Einweihung der Soundinstallation im Literaturarchiv Sulzbach/Rosenberg
Aus dem Tonarchiv des von Höllerer gegründeten Literaturarchivs Sulzbach-Rosenberg entstand eine dreiteilige Soundinstallation, die im barocken Treppenhaus des Archivs seinen dauerhaften Platz findet. ...
Freitag, 24. Juni 2011, 17 und 22 Uhr, Tanzperformance "Die Heimsucher und der Kosmopolit" beim Localize Festival, Potsdam
In dem Stück wagen wir uns nach "draussen", dies ist im wörtlichen Sinne zu verstehen: Wie viel Architektur verträgt der Mensch? Die Begegnung der Künstlerin Birgit Ramsauer, die sich als Performance Künstlerin angstfrei durch unterschiedliche Genre der Kunst bewegt, Stimmungen unterschiedlicher Orte auf der Welt aufgreift, Objekte zu Subjekten einer Geschichte werden läßt, Dinge auf den Kopf stellt, lassen in der Truppe der Oxymoron Dance Colmpany unter der Leitung von Anja Kozik Fragen akut werden...
„Himmelssüchtig“ – mit Paula Modersohn Becker in Paris
1900 reiste Paula Modersohn-Becker zum ersten Mal nach Paris. Die "ungeheure Persönlichkeit dieser Stadt" wirkte während ihrer vier Besuche sehr intensiv auf die talentierte junge Malerin. Hier konnte sie aus der Fülle der lebendigen Kulturmetropole schöpfen und in der Begegnung mit der Kunst ihrer bedeutenden Zeitgenossen – Rodin, Cézanne u.a. – fand sie zu der ihr eigenen Bildsprache.
Die Autorin Angelika Sinn, Bremen und die Künstlerin Birgit Ramsauer, Nürnberg folgten den Spuren von Paula in Paris: über 100 Jahre später..
Location: entrance area of Babylon cinema Date: 9 - 12. October Videos: "Skyline","Wheel Ballet"
Skyline is from my serie of the so called “Video Poems”. These short videos relate to poems by their abstract and meditative quality. This turns the video living pictures. Their once chosen perspective does not change much. The viewer js able to walk around within the image, only time passes by.
In “Skyline” the very expressive sky and clouds are vividly showing why the old Dutch masters chose in their paintings to concentrate in three thirds of the format on the sky. The even countryside gives all the power to the in humid air developed clouds. They built impressive sculptures and monuments.
On the other hand the fine engraved structures of the airport equipment, buildings and airplanes create a new quality of skyline against the sky from under. My performance with the moving line of both perspectives is the sentimental journey to a new way of painting with contemporary materials as it is video here.
So I paint a living Master piece in two overlapping lines by sitting in an airport bus moving to the plane.
In my actual historical background I relate to the word skyline in city lines, which is for me the most impressive in New York City, demolished at that time, shortly after sept.11th, in its structure.
Walk the Wall again
Location: Michael Steinberg Fine Arts Date:
What is the Value of family, society, of democratic structures?In Germany, especially Berlin there was a society cut into two halves. People would not even know what happened, when parents, children would not be back next morning.Families were divided, children visiting friends in the Western part of the city could not come back at this night. They could not say good by in any case. This sudden kind of a separation happens today everywhere on different leves.
In the live-drawing-dialogue “Walk the Wall again” I will interact with the projected video documentation of my Berlin performance “Walk the Wall” (Berlin, Potsdamer Platz 2004)
I will create in my performance a drawing on the trails of the projected wall performance. The actual drawing appeares more and more upfront. At the end the projected reality of the video is overlayered by the actual documentation drawing. The drawing I will tear down at the end and form a tape ball. The ball is going to be kicked into the audience.
The projection: In Berlin in 2004 I took the stones from the back of the wall and carry them to the front of the line. The stone wall “walked” with me stone by stone all along Potsdamer Platz. The stones were real and heavy. It took about four hours to walk the wall to Tiergarten. People were welcome to help to walk the wall. They realized the weight of the stones and they did have to make decissions where to put a stone within the sculptural environment. People became part of the creative process.
This performance brings the “Value of an act of freedom” within the language of my “Walk the Wall again” performance to the people. This general value of remembrance was dissolved at Potsdamer Platz, where the wall was taken down in spite of public protest. … and … To “Walk the Wall” in our mind in our heart is hard work and a great issue in a global society.
Paris In My Mind
September 27th – October 23rd 2007 Opening reception: Thursday, September 27th - 6-8 pm Michael Steinberg Fine Art 526 West 26th street Suite 215 New York, NY 10001 T: 212.924.5770
“Paris in my mind”
“Everybody carries a different city inside. One loves to visit cafés and restaurants, some vistit Gothic churches, some are interested in a love affair, others come here for a conference. So many people, so many cities. I am interested as well in the correspondence of the level of former times of the painter Paula Modersohn-Becker, overlayering with my - todays level. Each of us is dealing with the idea of “paining” but from different perspectives and media.” (Birgit Ramsauer 2007).
When she awarded in 2002 a scholarship at the ‘Kuenstlerhaeuser Worpswede” she became familiar with the work of Paula Modersohn-Becker, an important painter a century ago, born in Bremen. On the steps of this exciting painter two years later Birgit visited Paris. The intense diary of Paula became Birgit Ramsauer’s guidance in Paris. For Paula the time in Paris was her most shaping period of time.
The Polaroid pictures on Duratrans material in lightboxes bring in the Mediterranean light of Paris. They seem to be a window view into the city. By enlarging the original image the “painterly strokes” grow more powerful.
Since Birgit Ramsauer’s scholarship in 1998 in Moscow of Kolodzei Foundation, USA she experiments in the media of Polaroids. During the three minute developing process of the picture with a stump pencil she scratches onto the surface of the Polaroid. Therefor she stopsthe developing process of the picture at this level.
In Paris, right at the locations of Paula’s diary Birgit Ramsauer works with the Polaroid.
“Within the noise of the floating city, surrounded by the smell, the movement of the environment and the people I work into the developing Polaroid: leaning at a post or cowering on a bench my work process is vulnerably open to the public view. That for I correspond in this first step of a public performance with the environment.
The strong “strokes” and the colourful transformation connect me with the locations of the paintings of Paula 100 years ago. The layers of time overlap. In the second step I scan and work on the computer. In the technic of new media I “paint plain air”. ….
The show will be presented as well in Staedtische Galerie Bremen (2nd of December 2007 till 15th if January 2008) and at Frauenmuseum Bonn (1stof December 2007 till 27th of February 2008).
Together with the Bremen writer Angelika Sinn she edited a book on this tour to Paris called “Himmelssuechtig- auf den Spuren Paula Modersohn-Beckers in Paris”, “Sky addicted –with Paula Modersohn-Becker in Paris”. Publisher Kellner Bremen/Boston 2007.
Birgit Ramsauer’s Video Poems and Environments: The Performance of Absence
Robert C. Morgan
I am very fond of Birgit’s Ramsauers’s films. She works in DVD, as do most film artists today, with a coherent sensibility that is intuitively calculated – very much like the best experimental films during the early years of cinema. She is not at all oblivious to her sources, which include May Ray, Hans Richter, Viktor Eggling, Fernand Leger, and Maya Deren. In contrast to these seminal film artists, Ramsauer has pushed into the twenty-first century, using complex forms of digital editing, mixing black and white with color, dramatically articulating positive and negative lighting with subtle juxtapositions of narrative form interspliced with rapid flashbacks. Ramsauer’s “visual poems” – as she calls them – are as poetic and incisive as any of the Dada, Surrealist, and Constructivist film artists of the 1920s. As an adjunct to this cinematic poetry, Ramsauer occasionally adds the readymade architectural dimensions of the environment, both inside and outside, which multiples the inherent possibilities for interpreting the subject matter of her films in terms of real time and space.
For her video environment at the Berlinische Galerie, she has chosen one of her more subtle and beautiful films to date, entitled “The 9 Screws.” The concept is very simple, but also very profound. The film is concerned with the overlay between art and crime. How does art constitute a crime? And where do we find it? The performance within the film is absent of human characters. Instead of actors, Ramsauer traces the haunted places of the crime, in which the “characters” are represented by furniture or pieces of furniture, stuck upright into the turf or tables set out-of-doors near a warehouse loading dock or cabinets turned on end or diagonally positioned in shallow creek in a bucolic setting. The narrative is entirely subjective, that is, within the eye of the camera as it moves through the landscape during the day and the night, flashing back and forth. Her semiotic construction appears to reconstruct the unknown crime that is more eerie than anything explicitly shown.
These hidden narrative qualities are also present in Ramsauer’s other short videos, including Skyline (2001) and Synagogue Sound (2007), both shown at the Millennium in New York’s Lower East Side last March. While they each give us a tour, respectively, of an airport parking space and a synagogue in Goerlitz (accompanied by the sound of a metronome and the recitation of Paul Celan’s Todesfuge), they possess a similar kind of mystery that we find in “The 9 Screws.” The poetry evolves from the expectation of what we are going to see next as if on the edge of a series of sublime cadences that keep cycling back to where we began.
The installation, entitled “Neue Heimat,” (curated by Dr. Ursula Prinz) involves an IKEA bed, assembled on site, with two small tables and two lamps on either side. One of the square columns, intrinsic to the architecture of the Berlinische Galerie, is built into the installation of the bed, echoing the presence of the tree penetrating through the bed in “The 9 Screws.” For the performance, Ms. Ramsauer is attempting to sleep on the bed while being interrupted by the discomforting presence of the column, suggesting a kind of erotic frustration or nuisance. During this real time episode, the video of “The 9 Screws” can be viewed on multiple videos within the installation, thus enhancing the interior/exterior dynamic in real time and mythical space. What Ramsauer offers is a glimpse into the psyche power of the imagination as a force that both opens and closes our vision of the past, present, and future. At times, we are in the presence of all three, which transforms our presence into an absence where we are searching for the missing links, the screws that will fasten us together again.
Robert C. Morgan, Ph.D. is an artist, international critic, poet, and curator who is based in New York. He is a Professor of Fine Art at Pratt Institute in Brooklyn, and a contributing writer to The Brooklyn Rail, Tema Celeste, and Sculpture. He is the author of several books, including The End of the Art World (1998), Bruce Nauman (2002), and The Artist and Globalization (forthcoming Fall 2007).
Curator: Nathan Mason Curator of Special Projects Public Art Program, Visual Arts Division Department of Cultural Affairs City of Chicago 78 E. Washington St. Chicago, IL 60602 312.742.1232 v 312.742.1159 f
Location: I will bring the sand in an environmental setting in a parking booth just across from the Museum of Contemporary Art. As well on one single day I will present four installations/performances at the Art Fair's visitors parking lot during the Art Fair takes place.
Date: April 20th - May 3rd
Material: Sand, mixed materials Photographer: Karin Desmarowitz
The city environment of Chicago is very much connected with the lake shore of Lake Michigan. The lake as a water reservoir, as a weekend escape, as a transportationsystem etc. is very influencial on history, weather, habit, architecture, social and that for on the artistic concept of my project in Chicago. The lake shore with beautiful sand beaches covers more than 30 miles of Chicago city. And : this sand is artificially brought to the shore from further West to cover the lake's water front. As my work in public art is deeply connected with the history, architectural and social structure of the chosen place, I will work with the "natural" element sand and transport it further into the streets of the city center. Sand as an element in an alien environment differs immediately in terms of quality and meaning: in front of a store or in houses it changes into the level of dirt, in the streets onto the level of waste. The sand will become an alien element within the city : Sand in the Gear!. Either here or there it is a disturbing element and not very wellcome anymore. Only a few inches further from the beach it changes its character. So I will interfer into this understanding and confuse a common sense of settings of environments and situations in metropoles.
Date: Outdoor installations: April 17th - 26th Exhibition: June 17th - August 20th Performance: During the opening "I see what you do not see, and that is..." together with 12 Ystad pupils
Material: Ikea furniture, gaffers tape Film: Script, director, installations, camera: Birgit Ramsauer Camera: Rodrigo Barnert Music: Anders Forslund, Axel Rudebeck Editing: Judith Ramsauer Photographer: Ben Thompson, Birgit Ramsauer
Ystad is a village in the South of Sweden. The city where most of Henning Mankell's criminal stories take place. Therefore, the village got known to an international criminal stories lovers community. The tourist office even offers a guided tour through Ystad to the crime scenes in Mankell's stories. Invited to work with the Art Museum in Ystad I decided to put together a film, a surrealistic criminal story. The actors are furniture from the Swedish company IKEA. The film "The 9 Screws" involves 9 crime scenes in a serie - "the Screw" as the main object in terms of wooden furniture. At the same time, the 9 crime scenes show the main attractions of Ystad. So the film is a guided tour through Ystad city.
In every crime scene the tention is built up more and more. There is no story to follow at, no background information, no solution. The spectator following is nearly breathless and has no time to step back for a moment. Each crime scene is very specific. At the very beginning the film starts with a realistic daily situation. From there on one is more and more drawn into a surrealistic crime scene scenery. At the end it leaves one at a train ride in the style of the memory level. This memory level shows Ystad during a snow storm, covered in a nearly soundless environment. From now on, the tour becomes a complete night mare.
The typ of story, the criminal story, has stepped into the role of a fairy tale in earlier times. The reader is safe in dealing with difficult and dangerous ideas and situations of society. The commissar is always explaining and solving the problem and finds the bad guy in every case. Within the community of authors of criminal stories Henning Mankell is rather extraordinary. He forms a complex character in the commissar Mankell. He deals in a sophisticated and emotional way with society and its problems. Related to texts of Mankell I follow the psychological character of a criminal story. The text is inserted in the style of silent movies. The crime scenes in colour are built in public space. The memory level in the snow storm is left on a reduced color level.
In my artistic work I normally install and perform with objects in public space. In the movie "The 9 Screws" I can see a further development of my former installation work. The installations itselves become actors.