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opening times
tu-fr 11-18, sa 10-13
and by arrangement
free admission!
01/28 - 01/31/2016             with 'zeitraubenden glücksmomente' from alois schild you will also find us at the art innsbruck
7 pm

alois schild

'a waiting room for the rightfully existing'

the gallery's main room is completely coated with innumerable perforated and rusty iron plates, thus becoming a 'waiting room for the rightfully existing'.
these plates delineate a protected territory. the perforations, however, resemble stab wounds or bullet holes and indicate both a threat and an attack. what was once supposed to protect does now confine. at the same time the walls appear as if somebody could knock and ask for permission to enter at any moment.

a waiting room is a temporary abode. one immediately thinks of the concept "temporary asylum". yet in our case it is also about the temporal limitedness of "home". we ourselves could become migrants anytime and yould be forced to leave our home. but who can be counted among the rightfully existing and what does it mean to rightfully exist anyway?

names cut from steel are attached to the iron plates. typically austrian names such as maria, georg, anna, josef or franz refer to our responsibility as local residents when it comes to the issue of asylum.

 four "islands", reminiscent of the four cardinal directions or the four seasons, are placed at the center of the waiting room. they represent different stages of flight.

the first island consist of crinkled metal plates, constructing steel rods and concrete fragments, with conjure up images of bombed-out buildings. it represents the refugees' obliterated homeland in the war-torn territories and their reasons for fleeing.

the second island features a shredded rubber raft and numerous pieces of clothing. it symbolizes the hazardous escape routes and the crossing of the mediterranean sea.

the third island consists of a metal cauldron, which is primful of bones and reminiscent of the mediterranean "mass grave" and those who died during their flight.

the fourth island finally represents a kind of new land - europe and austria, our home. this new land is wired-in and fenced off. in the center of the island there is a rusty metal object in the shape of an "infinite" or "waiting" loop. it is a visualization of tedious process of seeking asylum and the countless hours of perseverant waiting for a positive notification.

a two-winged door eventually reveals the main object of the installation located in the gallery's adjacent room. it is called 'the fifth season'.
the fifth season is the conflation of our fates - the fates of refugees and locals. unexpected encounters and the utopian idea of peaceful coexistence and exchange. the fifth season is likewise a new beginnning for the refugees in a peaceful region of the world, prompting all of us to offer constructive contributions to these challenges and problems.

the room installation 'perforated résumés' serves as a model. the installation is something "powerful" and "physically present" which at all times poses an obstacle challenging the beholder to constant involvement, confrontation and response.
(alois schild, january 2016)

>> flyer 'perforierte lebensläufe - ein warteraum für daseinsberechtigte'




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