Maria Petschnig's Videos (4art.com) - 4art.com 2022-07-02T20:48:37Z http://4art.com/video/video/listForContributor?screenName=36e0ulk6h9mxt&rss=yes&xn_auth=no Born To Perform (excerpt) tag:4art.com,2009-11-03:1474022:Video:916490 2009-11-03T16:55:03.227Z Maria Petschnig http://4art.com/profile/MariaPetschnig <a href="http://4art.com/video/born-to-perform-excerpt"><br /> <img src="http://storage.ning.com/topology/rest/1.0/file/get/2508177908?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />Born To Perform (1 min clip!), Super8 transfer to DVD, 20 min, 2009 <a href="http://4art.com/video/born-to-perform-excerpt"><br /> <img src="http://storage.ning.com/topology/rest/1.0/file/get/2508177908?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />Born To Perform (1 min clip!), Super8 transfer to DVD, 20 min, 2009 MINNIE (excerpt), 2007 tag:4art.com,2009-02-27:1474022:Video:680302 2009-02-27T02:15:00.342Z Maria Petschnig http://4art.com/profile/MariaPetschnig <a href="http://4art.com/video/minnie-excerpt-2007"><br /> <img alt="Thumbnail" height="180" src="http://storage.ning.com/topology/rest/1.0/file/get/2508165129?profile=original&amp;width=240&amp;height=180" width="240"></img><br /> </a> <br></br>A pair of innocent eyes usher in the viewer’s gaze to the opening scene of MINNIE, by Maria Petschnig. Soon after, he realizes that they belong to the iconic Minnie Mouse who is modeled on a T-shirt worn by the artist. She positions herself as the camera comes into focus, and like an unblinking eye, the lens remains fixed on her torso until the video winds down to its finale.<br></br> <br></br> At first,… <a href="http://4art.com/video/minnie-excerpt-2007"><br /> <img src="http://storage.ning.com/topology/rest/1.0/file/get/2508165129?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />A pair of innocent eyes usher in the viewer’s gaze to the opening scene of MINNIE, by Maria Petschnig. Soon after, he realizes that they belong to the iconic Minnie Mouse who is modeled on a T-shirt worn by the artist. She positions herself as the camera comes into focus, and like an unblinking eye, the lens remains fixed on her torso until the video winds down to its finale.<br /> <br /> At first, Petschnig, who performs in all her works, mimics the coquettish pose of Minnie by tucking her hands behind her back and shifting her weight to one side. She flaunts her chest to the viewer, whose natural curves eventually become warped through the use of various textile objects underneath the T-shirt: the breasts inflate monstrously, the spine somehow is/comes in front, the bottom balloons into a voluptuous corset. The performer flattens her T-shirt to accentuate her figure and strokes her constructed appendages as a suggestive hint to her erotic potential. Her evolving figure is presented in front of the camera with an effortless grace.<br /> <br /> As the performance unfolds, Petschnig further transforms herself by bursting through the seams of her experimental dimensions. Each twirl of her hips frees the body of an object, and is then allowed to ripen into full sexual expression. The fetish-like garments refer visually to Minnie’s cute little ears, her red dress, and yellow shoes. Like a stripper, she teases the audience by showing more and more skin, which she redefines and warps too, similar to the artificial pieces of garments. The combination of the striptease-like poses with her choice of costume creates an alienated world in between the sensual and the absurd. By doing so, a clear statement about femininity, sexuality and the female body cannot be deciphered and the viewer is able to vary his usual perceptions toward the passionate art of undressing.<br /> <br /> (Christa Benzer) Holodeck, 2 min, 2008 tag:4art.com,2009-02-25:1474022:Video:675693 2009-02-25T04:02:40.512Z Maria Petschnig http://4art.com/profile/MariaPetschnig <a href="http://4art.com/video/holodeck-2-min-2008"><br /> <img alt="Thumbnail" height="180" src="http://storage.ning.com/topology/rest/1.0/file/get/2508167171?profile=original&amp;width=240&amp;height=180" width="240"></img><br /> </a> <br></br>A Holodeck is a simulated reality facility located on starships in the fictional Star Trek universe. The holodeck is depicted as an enclosed room in which objects and people are simulated, onto which holographic images are projected. Starfleet personnel use holodecks for both recreation and training.<br></br> I recorded this footage in 2002 when a friend lent me his video camera for a week, experiencing… <a href="http://4art.com/video/holodeck-2-min-2008"><br /> <img src="http://storage.ning.com/topology/rest/1.0/file/get/2508167171?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />A Holodeck is a simulated reality facility located on starships in the fictional Star Trek universe. The holodeck is depicted as an enclosed room in which objects and people are simulated, onto which holographic images are projected. Starfleet personnel use holodecks for both recreation and training.<br /> I recorded this footage in 2002 when a friend lent me his video camera for a week, experiencing my first time with a camera. I was working as an aerobics instructor at the time, and already curious about the thin line between private and public, I hid the camera in my locker in the women’s dressing room. (Maria Petschnig) Pareidolia, 4 min, 2008 tag:4art.com,2009-02-24:1474022:Video:674471 2009-02-24T04:47:00.267Z Maria Petschnig http://4art.com/profile/MariaPetschnig <a href="http://4art.com/video/pareidolia-4-min-2008"><br /> <img alt="Thumbnail" height="180" src="http://storage.ning.com/topology/rest/1.0/file/get/2508166636?profile=original&amp;width=240&amp;height=180" width="240"></img><br /> </a> <br></br>In film the face, rather than the body, is usually where an occurring emotion is revealed. At the same time the face also acts as identification—small, distinctive features suffice to identify the subject. For her new video Maria Petschnig uses these concepts, but only to shuffle and rearrange them. The film’s title PAREIDOLIA refers to a psychological phenomenon, involving a vague and random… <a href="http://4art.com/video/pareidolia-4-min-2008"><br /> <img src="http://storage.ning.com/topology/rest/1.0/file/get/2508166636?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />In film the face, rather than the body, is usually where an occurring emotion is revealed. At the same time the face also acts as identification—small, distinctive features suffice to identify the subject. For her new video Maria Petschnig uses these concepts, but only to shuffle and rearrange them. The film’s title PAREIDOLIA refers to a psychological phenomenon, involving a vague and random stimulus that is perceived to be meaningful or significant by the viewer. Similarly, in Petschnig’s video, her body becomes its own remote projection screen for the viewer to observe whatever he or she wants to see. The artist, however, never reveals her own face; instead she exhibits different “faces” on her body, presenting cheeky, doll-like personae with her torso and accessorizing with various props and costumes. She depicts a fragmented, topless female figure; yet she resists the classic sexist logic associated with the objectified female body by allowing this active, pleasure-oriented field—her body—to return the viewer’s gaze.<br /> The video’s starting off point came from a live performance of the same name, which Petschnig performed in a vacant apartment in New York City then later re-enacted in front of a camera. The precisely-shot selection of “frames within a frame” are set against the apartment’s frontal exterior. With the light switched on, the window display provides illumination as one body sculpture appears at a time. With this simple, creative method, Petschnig follows the perceptive mechanism of pareidolia—resolution, certain incidences of light and shadow games allow the viewer to recognize certain faces or personae. As her body takes on many demonstrative, mainly comic, forms of representation, it serves as the implementation of a purely sculptural and textural aesthetic.<br /> (Dietmar Schwärzler)<br /> <br /> <br /> <br /> VIDEO SCREENINGS:<br /> 2009 International Short Film Festival, Clermont-Ferrand, France<br /> 2008 “All the Ladies, let’s misbehave!”, Top-Kino, Vienna, Austria<br /> "Blinking Lights", Flushnik, Brooklyn, New York KIP MASKER, 3 min, 2007 tag:4art.com,2009-02-24:1474022:Video:674461 2009-02-24T04:33:32.724Z Maria Petschnig http://4art.com/profile/MariaPetschnig <a href="http://4art.com/video/kip-masker-3-min-2007"><br /> <img alt="Thumbnail" height="180" src="http://storage.ning.com/topology/rest/1.0/file/get/2508166423?profile=original&amp;width=240&amp;height=180" width="240"></img><br /> </a> <br></br>The absurd combination of the body and the misappropriated use of clothing enlist the viewer into a fluid stream of sculptural moments and constructs that dissolve after a fleeting manifestation. (…) The performance intends to analyze and play with ideas about the body, the fetishization of clothing, and lastly, question whether it is possible to rethink the perception of the (nude) body.(…)In KIP… <a href="http://4art.com/video/kip-masker-3-min-2007"><br /> <img src="http://storage.ning.com/topology/rest/1.0/file/get/2508166423?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />The absurd combination of the body and the misappropriated use of clothing enlist the viewer into a fluid stream of sculptural moments and constructs that dissolve after a fleeting manifestation. (…) The performance intends to analyze and play with ideas about the body, the fetishization of clothing, and lastly, question whether it is possible to rethink the perception of the (nude) body.(…)In KIP MASKER I unite the roles of performer and camerawoman (video artist). I see these two functions united in one person as an expression of a new, expanded concept of feminist self-presentation. (Maria Petschnig)<br /> <br /> <br /> <br /> VIDEO SCREENINGS:<br /> 2008 39th Annual Nashville Film Festival, Tennessee, USA<br /> European Media Art Festival, Osnabrück, Germany<br /> Inside Out,18th Film and Video Festival, Toronto, Canada<br /> Mediawave, International Film &amp; Music Festival, Györ, Hungary<br /> Internationale Kurzfilmtage Oberhausen, Germany<br /> 2007 Denver International Film Festival, Colorado<br /> “Mind the Gap,” Top-Cinema, Vienna, Austria<br /> Diagonale 07, The Festival of Austrian Film, Graz, Austria<br /> “Videolab Lagos 2007”, Lagos, Portugal<br /> “Image - Body”, Transnatura Videolab, Coimbra, Portugal<br /> 18th São Paulo International Short Film Festival, Brasil<br /> “Ultraspective,” Monkey Town, Brooklyn, New York