2014 Dienstag Abend Chicago

Covering the fridge with painted paper, so to make a three-dimensional painting that relates and interacts to its place, its situation by color.

This can be made from water-based paint and simple packaging paper on a roll or thicker or millboard ... for the Pepsi-lightbox on top of the fridge I suggest a piece of cardboard. If the paper already has a color (like brown paper or cardboard) it shall be primed first. The color shall be applied roughly and thick, in several layers, necessarily on both sides of the surface. By doing so its form will get slightly waved but overall it will stay quite flat. Brush strokes can be visible, dripping might occur. In general it is preferable that the painted paper maintains a handmade look and a weighty body.
After drying the painted paper shall be cut out freely with scissors or cutter and makes therefor flowing edges. Three shapes are developed according to the silhouettes of the fridge's left and right side and its light box on top. The mounting shall be done with pieces of tape rolled into loops or double-sided adhesive tape. It must be invisible.

Two color propositions

Advanced. Try to imitate the color of the floor or something in its immediate vicinity, literally or practically touching the fridge.
By my experience a color does not have to be a precise rendition in order to look similar to a neighboring one.

Easy. Make a color out of the available leftovers around.
In this case the mixture is made at best from more than two paint sources. There can be primer added, more paint from a neighboring boot, some grey or what is in reach.


2014 Sweethearts

Once she had the invitation to go to tea. She arrived at his door with eleven color swatches in an attaché case and the kindest smile on her face. She found a thin cloud of smoke floating above the open door, in no time the room was filled with people. Hands holding trays went high atop their heads. She kept herself in constant movement. She noted, order had become play.
So now I want to tell you about the color swatch. It was for him to select exactly the hue or tint of red-orange and blue that he wanted to have for the print that she was going to silkscreen later. Eleven times she had made a red circle on black Color-aid paper but in different intensities and each time overlapped it with a blue.
There was Torch Red, Flame, Bittersweet. He chose one. The color swatch went on the windowsill and the ones he had not selected went back into her case. She thought, even though all is proceeding as foreseen, there must have been an irregularity somewhere along the way.
So the tea party proceeded and at some point his wife got up to go to the window. Perhaps she wanted to open the window. She looked down and there was the color swatch, left out, designating his choice. She held it up and said, “When did you do this?” He got up from the table, walked over to the window, toward the fluttering paper and said, “Give me a pencil.” He signed the color swatch. He put the pencil down. He did not return to the table as he had left for the window.
Here the curtain falls vertically and the question is now, what is that? Is that a work of art? Is that something, which helps in the methodology of doing the print? Is it one of his numerous rounds acted out in the moment?
The artifacts, in their arrangement, as they stood, showed a general affinity of opinions. They seemed neither unsettling nor distracting. Only the attaché case felt unnaturally heavy as she picked it up on the way out. Everything seemed fine. Nothing is wrong. There will be time.

Alison Knowles and Marcel Duchamp on 10th Street, New York, 1967


2014 Vier Hands und Floralozone

Michael Part, 2003-2006

Hand 21

1 – Andy Partridge and Harold Budd, Hand 21
2 – Andy Partridge and Harold Budd, Missing Pieces of the Game of Salt and Onyx
3 – Jacob Kirkegaard, Labyrinthitis II
4 – Ø, Olematon
5 – John Hughes Daydream, Drinking Gasoline
6 – John Hughes Daydream, Terrible Things
7 – Heat Wave, Oakland, Slowmotion

Hand 22

1 – Andy Partridge and Harold Budd, Hand 22
2 – Delia Gonzalez and Gavin Russom, Rise
3 – James Murphy and Tim Goldsworthy, Rise Remix

Hand 20

1 – Andy Partridge and Harold Budd, Hand 20
2 – Moby, Is That You Mo-Dean Remix (Herparella)
3 – Mike Harding, Broken Rain
4 – People Like Us, In the Waking
5 – Jana Winderen, Mae Taeng
6 – J.O.Y., Sunplus A – Sunplus
7 – Hypnotic Brass Ensemble, War
8 – Roboterwerke, Rockbots (Stevie Kotey Edit)
9 – Moebius & Plank, Conditionierer

Hand 19

1 – Andy Partridge and Harold Budd, Hand 19
2 – Kraftwerk, Ohm Sweet Ohm
3 – Henrik Håkansson, Central Park
4 – A. Burger, Device C
5 – Henrik Håkansson, Central Park
6 – Penguin Cafe Orchestra, Sketch
7 – Martin Rev, My Strange World
8 – Moondog, Oasis
9 – Tin Man, Constant Confusion
10 – Virgo Four, Deep Blue
11 – Shed, Keep Time
12 – Ø, S-Bahn
13 – Kraftwerk, Klingklang
14 – Kelan Phil Cohran and Legacy, The Dogon
15 – Arthur Russell, Make 1, 2 (Gem Spa Dub)
16 – Starship Commander Woo Woo, Master Ship

Playlist in colaboration with Michael Part for Four Hands and Floralozone, Wellwellwell and Fluc, Vienna 2013


2013 Ludwig Kittinger

"Salvia, lavender, hollyhock, scabiosa"
Exhibition detail, on painting zwei - Ludwig Kittinger, Constanze Schweiger, from a photograph by Thomas Ries, 2013

„Vor der Abstraktion ist alles eins, aber eins wie Chaos; nach der Abstraktion ist wieder alles vereinigt, aber diese Vereinigung ist eine freie Verbindung selbständiger, selbstbestimmter Wesen.“ So schreibt Novalis in Blüthenstaub über die Vorstellung der Zukunft, 1802.

Kornblume im Feld. Gemeiner Lein. Sich ganz dem Zufall überlassen. Von oben betrachtet werden zahllose Bestimmungen sichtbar, gestreut über einen offenen Grundriss. Glockenblume. Rittersporn, Heliotrop oder Aster. Zurücktreten, die Ärmel hochkrempeln, nach einer Zigarette greifen. Hier also, mitten im Grün, ein kleines Blau. Immergrün. Alles, was zwischen den einzelnen Farbpunkten liegt, verschwindet. Blassblaue Wegwarte, dort wo Kiesel, Sand und Wiese ineinander übergehen. An so einer Stelle bücken und die Schürsenkel richten. Tollkirsche, in unmittelbarerer Nähe die Trichterwinde. Vorstellungen und Eindrücke mischen sich, seine eigenen Gesten gehören ihm nicht mehr. Linsenblüte, Salbei und Indigolupine zusammen in einem bunten Sack. Alles in einem, so entsteht eine Verbindung. Nachts. Schwarz schluckt Blau. Eigentlich fühlt er sich nirgendwo zu Hause. Vergissmeinnicht draussen am Zaun vor dem Garten. Im Garten Hortensienblau, es wird durch Aluminium hervorgerufen, also über Zugabe von Alaun und Essigwasser in den Boden. Ein neues Blau erscheint so, frostig, fern und klar zu erkennen. Am Morgen dann werden Iris und Hyazinthen aus dem Kühlraum in die Auslage gestellt. Gleich unterhalb eine Ritze im Asphalt, in die alles verschwinden und aus der wieder auftauchen, zu Pulver vermahlen und in eine festumrissene Form gebracht werden kann.


2013 Michael Part Constanze Schweiger

Henrik Håkansson's New York from 2011

A set assembled by Part and Schweiger for a midsummer night's event in 2013. Remember full moon alternating with new moon in a period of four days, one dope-drunk with a donkey's head chases the juice of the flower, dewdrops show like liquid pearls through haze guarded by the dark pounding forces from the strange world within a forest.

1 - Henrik Håkansson, New York (A), A Better Tomorrow Records 2011
2 - A. Burger, The Transducer (A3), Craft Records 1996
3 - Penguin Cafe Orchestra, Signs of Life (B2), Virgin 1987
4 - Martin Rev, Strangeworld (A1), PUU 2000
5 - Moondog and his Friends (A2), Honest Jon‘s Records 2005 (original release on Epic 1953)
6 - Tin Man, Cool Wave (A1), Cheap Records 2009
7 - Virgo Four, Resurrection (F2), Rush Hour Recordings 2011
8 - Shed, The Traveller (A2), Ostgut Ton 2010
9 - Ø, Oleva (A2), Sähkö Recordings 2008
10 - Kraftwerk, Doppelalbum (C1), Phillips 1976
11 - Kelan Phil Cohran and Legacy, African Skies  (B1), Captcha Records 2010
12 - Arthur Russell, Let's Go Swimming (B2), Audika 2011 (original release on Logarhythm 1986)
13 - Personal Space, Electronic Soul 1974-1984 (C2), Chocolate Industries 2012
14 - Orchestral Manoeuvres In The Dark, Architecture & Morality (A2), Dindisc 1981
15 - Danza Meccanica, Italian Synth Wave Vol. 2 1981-1987 (B3), Mannequin 2012
16 - Historical Archives Volume 1 (B), Members Only 2006
17 - Chris & Cosey, Trance (A4), Conspiracy International 2010
18 - Tom Trago, Iris In Dub (A2), Rush Hour Recordings 2011
19 - Benzo, The Dust/The Tapes: Mania Remixes (C2), Sex Tags Mania/Laton 2009
20 - Chris & Cosey, Heartbeat (A3), Conspiracy International 2010
21 - Factory Floor, Two Different Ways (B), DFA 2011
22 - Ron Hardy, Rdy #2 (A1), Not on Label 2009
23 - Wunderwerke, Selected Werks Vol. 1 (D2), Wunderwerke 2012
24 - Boards of Canada, Tomorrow's Harvest (B2), Warp Records 2013
25 - François de Roubaix, L'Antarctique & Autres Séances Électroniques Rue De Courcelles (B2), WéMè Records 2009
26 - Theo Parrish, Sound Sculptures Volume 1 (SS28 B1), Sound Signature 2007
27 - Drexciya, Harnessed the Storm (D), Tresor 2002

Playlist for 21er Haus Sommerfest Vienna June 21 2013


2013 William Wegman

William Wegmann for ACNE Studios Spring/Summer Campaign 2013


1976 Robert Rauschenberg

Constanze Schweiger, On Robert Rauschenberg's Vow (Jammer), 1976, 2013
wall hanging, sewn cotton fabrics, Indian cane, 210 x 102 x 49 cm

Über Robert Rauschenbergs Vow (Jammer), 1976, Wandbehang, vernähte Baumwollstoffe, Bambusrohr, 213,5 x 101,5 x 49,5 cm

Lebendig und symmetrisch hängt Vow an der Wand. Die vier rechten Winkel eines vergilbt weiß wirkenden Tuchs ergeben dort ein offenes Tetraeder, dessen Spitze Richtung Boden zeigt. Dachstube am Kopf. Winkel, in dem ein Stück Bambusrohr liegt. Hängendes Nest oder eigentümlich gebautes Bett. Es erinnert an die Schale der Molluske; schön anzusehen und mobil, scheint die Konstruktion gleichsam aus sich heraus abgesondert.

Die Vorstellung beginnt 1975 in der indischen Stadt Ahmedabad. Mit leichtem Gepäck steigt der Künstler ins Flugzeug. Die Sammler Sarabhai haben ihn zu sich in die Familienresidenz
eingeladen. Der mitgebrachten Hausregel folgend, sammelt er Materialien auf seinen Streifzügen rund um den temporären Arbeitsplatz. Dabei kauft er in der Umgebung hergestellte Stoffe aus Naturfasern in fein abgestuften Texturen und vibrierenden Farben. Er kombiniert sie mit Rohrstöcken und weiteren Fundstücken (kleinen Aludosen, einer Glasflasche, Lehm, Schnüren aus Hanf et cetera).
“I never allowed myself the luxury of those brilliant, beautiful colors until I went to India and saw people walking around in them or dragging them in the mud. I realized they were not so artificial.”
Es entsteht eine Folge von rätselhaft einfachen Sets. Man meint, losgelöst von ihrem kulturellen Zusammenhang, wirken die Versatzstücke in den knappen Anordnungen post-minimal, Tuttle-esque und exotisch. Mit gewohnt streifendem und ungenormtem Blick verschränkt R. flüchtig und lose Farben und geometrische Abstraktion zu Architekturen, in die man blasen könnte. Türen und Fenster fehlen, die Zimmer sind mit spontanen Falten ausgekleidet; nichts kommt von außen oder geht etwas nach draußen. So ein Haus kämpft nicht. Es leistet Widerstand in einfachen und zarten Zügen.
Den übergeordneten Namen (Jammer) zur Serie borgt sich R. angeblich vom Windjammer, der letzten Version eines Großseglers. Eigentlich eine mächtige Transportmaschine aus Holz und Stahl, ausgestattet mit mehreren Masten und riesigen, charakteristisch rechteckigen Segeltüchern, ist es auch ein Modell, das man in seiner Miniaturform in eine dekorative Glasflasche stecken könnte. Wenige Jahre zuvor (1969) schlüpft R. in so eine Flasche; er übersiedelt sein einmal freundlich, utopisch geöffnetes Atelier von Manhattan auf eine Insel vor der Golfküste Floridas. Hier bleiben Gürtel, Krawatte, feste Schuhe im Schrank. Was dann, Kimono oder überweites Hemd? Aus solchen Hüllen lässt die Einbildungskraft erstaunliche Wesen herauskommen. Und so heißt es im Sommerbulletin desselben Jahres der ehemaligen Midpeninsula Free University
„The natural state of man is ecstatic wonder. We should not settle for less“.


On Robert Rauschenberg’s Vow (Jammer), 1976, wall-hanging, sewn cotton fabrics, Indian cane, 213,5 x 101,5 x 49,5 cm

Vow dangles lively and symmetrically off the wall. In this place with four right angles a yellowed white fabric forms a tetrahedra; its top points downward to the floor. Upside-down attic. Nook or corner, where a piece of bamboo lies. Hanging nest or a peculiarly built bed. It remembers the mollusk’s shell; beautiful to look at, mobile and at the same time the construction seems segregated from itself.

The story starts in 1975. Travelling light the artist boards a plane. The collectors Sarabhai have invited him to their family‘s residence in the  town of Ahmedabad in India. Following his arrival, with habitual self imposed restrictions, he collects material on his expeditions around the temporary workplace. In doing so he buys locally produced natural fabrics in nuanced textures and vibrating colors. He combines these with canes and other finds (small aluminum cans, a glass bottle, adobe, cords out of hemp et cetera).
“I never allowed myself the luxury of those brilliant, beautiful colors until I went to India and saw people walking around in them or dragging them in the mud. I realized they
were not so artificial.”
A sequence of puzzlingly simple sets is formed. You‘d think, uncoupled from their cultural context, the scarce formations appear post-minimal, Tuttle-esque and exotic. With the usual „vernacular glance“ R. loosely interlaces color and geometric abstraction into architectures in which you could blow your nose. Doors and windows are missing, the rooms are lined with spontaneous folds; nothing is coming from the outside nor is anything going outward. This sort of house does not fight. It offers resistance in facile and subtle lineaments.
The superordinate name of the series (Jammer) is taken from Windjammer, the ultimate tall ship. Actually a mighty machine made of wood and steel, appareled with several masts and characteristically vast rectangular sails, it is also this type of sailing ship, which in its miniature form could be tucked in a decorative glass bottle. Some years before (1969) R. emerges in such a bottle; he relocates his once friendly, utopically opened studio from Manhattan onto an island off the coast of Florida in the Gulf of Mexico. Here, belt, necktie and brogues stay in the wardrobe. What then are the options, kimono or oversized shirt? From such shells, the imagination allows amazing creatures to come out. In this same year, the summer bulletin of the former Midpeninsula Free University prints
„The natural state of man is ecstatic wonder. We should not settle for less“.

Robert Rauschenberg, Untitled [foot in water], 1950

The text is part of the exhibition Introduce #2: Constanze Schweiger / Robert Rauschenberg April 23 2013 at Schneiderei, Vienna
A part of the original series has been on view at Gagosian Britannia Street London February to April 2013