Buch II - Elisabeth Penker ST/A/R 17Städteplanung / Architektur / Religion

„Polysynthetische Doppelperspektive 1, Claude Levi- Strauss“ Photocolloage C-Print, 40 x 30 cm

ELISABETH PENKER

Collection Galila Barzilai Hollander, Belgien

Buch II - Elisabeth Penker Nr. 13/200718 ST/A/R

De-grammaticalfor the past few years, Austrian artist Elisabeth Penker has been exploring the

spatial dynamics that occur in the relation between objects and sound. In her solo show at HTTP Gallery in London consecrated to "technologically termed praxis,"

she investigates rhythm and musicality by rearranging phonetic units in a process inspired by First Nation languages. With the multichannel sound installation Die Bild-hauerin (The Sculptress), 2005, the artist breaks the grammatical structure of the title words into units, or "morphemes," which become the basis of a minimal composition that resonates in and shapes the surrounding space. Backed by pre-recorded vocals and the echoing sound of two stonemasons chiselling into a wall, Penker's performance on the show's opening night took place on Sonic Structure (portable instrument), 2005, a geometric construction vaguely resembling a keyboard, made of wood and covered with industrial flooring. Any sounds made on this structure are amplified by means of a number of microphones set at different heights that allow any performer to produce music with wooden blocks and sandpaper. Having examined Luigi Russolo's "Futurist Manifesto" of 1912 and, in particular, his experiments with noise, Penker successfully rephrases the old avant-garde formula through an orchestra that, although organized with instruments made of industrial materials, is able to involve those forces embedded within the most sophisticated sonic structure of all–linguistics.

–Diana Baldon, published Artforum 2005

Elisabeth Penker, installation view, “De-Grammatical: Rhythm and Language Transformation” HTTP Gallery, London curated by Tobi Maier 2005

Buch II - Elisabeth PenkerNr. 13/2007 ST/A/R 19

SPLIT REPRESENTATION / DOUBLE PERSPECTIVEthe animal (person) is imagined cut in two from head to tail (toe)…

there is a deep depression between the eyes, extending down to the nose. This shows that the head itself must have not been considered a front view,

but consisting of two profiles which adjoin at mouth and nose...Franz Boas

„Polysynthetische Doppelperspektive 2, Claude Levi- Strauss“ Photocolloage C-Print, 40 x 30 cm Collection Galila Barzilai Hollander, Belgien

De-grammaticalfor the past few years, Austrian artist Elisabeth Penker has been exploring the

spatial dynamics that occur in the relation between objects and sound. In her solo show at HTTP Gallery in London consecrated to "technologically termed praxis,"

she investigates rhythm and musicality by rearranging phonetic units in a process inspired by First Nation languages. With the multichannel sound installation Die Bild-hauerin (The Sculptress), 2005, the artist breaks the grammatical structure of the title words into units, or "morphemes," which become the basis of a minimal composition that resonates in and shapes the surrounding space. Backed by pre-recorded vocals and the echoing sound of two stonemasons chiselling into a wall, Penker's performance on the show's opening night took place on Sonic Structure (portable instrument), 2005, a geometric construction vaguely resembling a keyboard, made of wood and covered with industrial flooring. Any sounds made on this structure are amplified by means of a number of microphones set at different heights that allow any performer to produce music with wooden blocks and sandpaper. Having examined Luigi Russolo's "Futurist Manifesto" of 1912 and, in particular, his experiments with noise, Penker successfully rephrases the old avant-garde formula through an orchestra that, although organized with instruments made of industrial materials, is able to involve those forces embedded within the most sophisticated sonic structure of all–linguistics.

–Diana Baldon, published Artforum 2005

Buch II - Elisabeth PenkerStädteplanung / Architektur / Religion Buch II - Elisabeth Penker

ELISABETH PENKER 9 September - 22 November 2007

INOVA INSTITuTE Of VISuAL ARTSWiScoNSiN-milWaukee

opeNiNg receptioN: 8. September, 6-9 pm

Studio: elisabeth penkerFranzengasse 13a-1050 Wient: ++ 43 (0)699 197 193 53elpenker@gmx.atwww.eliserichter.at

PICTORAL REALISM?Our concept of pictorial realism should include a reference to perceptual proficiency relative to a cultural context…. However, the variety of styles that serve the purposes of depiction in non-Western cultures suggests that realism (when conceived as determining the degree to which an object is visually recognised in a depic-tion) even when understood as determined by a natural generative system[5] is far more multifaceted than the standing "resemblance" theories would allow. Compare the split style of Haida Art with the Rembrandt pen and ink drawing provided below… An example of a prediction would be that while it may be true that indig-enous Canadians traditionally raised will eventually come to recognise certain Western art styles as realistic if continually exposed to them, this would not mean that they necessarily cease to perceive their traditional split style pictures as realistic. It just means that they have added a new style of configuration to their repertoire. The same would apply (conversely) for Westerners. Contrary to the standing resemblance theories, pictorial realism is a matter of the degree to which underlying perceptual principles are deployed in ways compatible with recognition and there are numerous candidates for this. (J.McMahon)

Buch II - Elisabeth PenkerBuch II - Elisabeth Penker ST/A/R 21

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ELISABETH PENKER 9 September - 22 November 2007

INOVA INSTITuTE Of VISuAL ARTSWiScoNSiN-milWaukee

opeNiNg receptioN: 8. September, 6-9 pm

Studio: elisabeth penkerFranzengasse 13a-1050 Wient: ++ 43 (0)699 197 193 53elpenker@gmx.atwww.eliserichter.at

CUBISM AND THE INVENTION OF COLLAGE In the early 20th century, artists such as Picasso and Braque (and later the Dadaist and the Surrealist) like Gauguin turned to African Art for Enlightenment. African Art taught them the distinction between visual or perceptual reality and the reality of knowledge or of concepts that echoes the western philosophical premise that goes back to Plato. As early as 1907-1914, both Picasso and Braque were developing through Cubism, painting as an art of representation and illusion. By finding for every aspect of three dimensional vision as an explicitly two-dimensional equivalent, regardless of how much verisimilitude might suffer in the process. They discovered that trompe-l'oeil could be used to undeceive, as well as, deceive the eye by declaring and denying paintings physical flatness. Once the non-literal nature of the support was advertised, whatever hap-pened upon the surface was not intended literally would be set-off and enhanced in its non-literalness. (Clement Greenberg "Collage" 1959)

Buch II - Elisabeth Penker Nr. 13/200722 ST/A/R

Elisabeth Penker

First Nation Pavilion

Der “First Nation pavilion” von elisabeth penker unternimmt den versuch, einen bereich für ein kolo-niales bewusstsein der europäischen vergangenheit zu schaffen und einen utopischen raum für neue vorstellungen von einer mannig-faltigkeit an kulturellen Formen in der zeitgenössischen kunst. Die komposition “de-grammatical”, ein bestandteil des “First Nation pavilion”, beruht in ihrer Struktur auf den grammatischen einteilungen der Sprachen, die in phonetische minimaleinheiten dekonstruiert sind, und wird über eine nichtlineare 5-kanal-matrix gespielt.

penker untersucht mögliche Überschneidungen zwischen der Sprache der musik und der bild-struktur, wobei ihr Hauptaugenmerk polysynthetischen Sprachen (First Nations und pazifi sche inseln) gilt sowie dem vergleich zwischen der kunst von First Nations und der modernen kunst. erst in jüngerer Zeit, in der Ära des postkolonialismus, hat der Diskurs der kulturellen Überset-zung Fragen aufgeworfen, mit denen man sich schon in den phonetischen experimenten des Dadaismus in den 1910er und 1920er Jahren beschäftigt hatte, sowie später, in der konzept-kunst der 1960er und 70er Jahre.

Die Wiener künstlerin und musikerin elisabeth penker arbeitet mit klang im Zusammenhang mit bildhauerei. in ihrer (subjektiven) Führung nähert sie sich der anti-ausstellung protec-tioNS aus einem blickwinkel, der die position und bedeutung der klangkunst an der kreuzung zwischen bildender kunst, Sprache und musik verortet.

“Poetics of Dead Space”Für protectioNS entwickelte elisabeth penker einen leitmotivischen key Sound, “poetics of Dead Space”, der weitgehend eine Hommage an gaston bachelards wegweisendes buch poetics of Space darstellt, in dem die verbindungen zwischen lyrik und räumlichen emotionen analysiert werden. penkers key Sound wird das publikum durch die ausstellung geleiten, die identität der Schau in ihrer gesamtheit erfassen und in gewisser Weise die (audio-narrative) route des publikums im labyrinth der kunstgegenstände, ereignisse und Situationen aber auch räumlicher leerstellen und ungenutzter Winkel kontrollieren.

First Nation PavilionThe “First Nation Pavilion” by Elisabeth Penker at-tempts to set-up an area for colonial consciousness of the European past and a utopic space for re-imagin-ing a plurality of cultural forms in contemporary art. The composition entitled “de-grammatical” contained within the First Nation Pavilion is structurally-based on the grammatical classifications of languages, decon-structed into minimal phonetic units played within a non-linear 5-channel matrix.

Penker is questioning the possible overlaps between music-language and visual structure, within the pri-mary focus on polysynthetic languages (First Nation and Pacific Islands) and First Nation Art compared to Modern Art. More recently in the age of post-colonial-ism the discourse of cultural translation is arising questions that have also been experimented by the Dadaists phonetic experiments in the 1910-20s and later in Concept Art of the 1960s-70s.

Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context. In her (subjective) tour, Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and signifi-cance in the context of Sound Art as located on the crossway between visual arts, language and music.

“Poetics of Dead Space”For PROTECTIONS Elisabeth Penker developed a key-sound, “Poetics of Dead Space” which is to a large extent an hommage to Gaston Bachelard’s seminal book, “Poetics of Space” where the connections between the poetry and the spatial emotions are analysed. Penker’s key-sound will guide the viewer through the exhibition, mapping the overall identity of the show, in some way, controlling the viewer’s (audio-narrative) route in the maze of art objects, events, situations but also spatial voids and unused corners. Adam Budak

“cracky walls”, exhibited at Künstlerhaus Stuttgart, Gandy Gallery Bratislava, Howard House Gallery Seattle

Speaker placement: Station 1 outdoor (entrance), 2 (escalator), 4 (corner ), 5 (corner) 6 (escalator) 7 (corner) A non linear composition, 7 mono active speakers are placed through out the Kunsthaus Graz within it’s dead architecture.

“Untitled Instrument, sonic structure”, Kunsthaus Graz – Protections; Kuratoren: Adam Budak und Christine Peters

Elisabeth Penker “First Nations Pavillion” (outside, prefabricated house, Michael Elmgreen & Ingar Dragset) Kunsthaus Graz, Protections, Kuratoren: Adam Budak und Christine Peters

Front“De-grammatical”, 4-channel sound installation

C.T (shelf/ bench), Acryl auf PappelsperrholzBack: “Pull Out, Yukme Shirley Hall”

Buch II - Elisabeth PenkerNr. 13/2007 ST/A/R 23

„Polysynthetische Doppelperspektive 3, Claude Levi- Strauss“ Photocolloage C-Print, 40 x 30 cm Collection Galila Barzilai Hollander, Belgien

Buch II - Elisabeth Penker Nr. 13/200724 ST/A/R

• Miwok, Bay Language

• Mobilian Language

• Mohegan Language

• Molala Language

• Nanticoke Language

• Narragansett Language

• Natchez Language

• Nooksack Language

• Northern Kalapuyan Language

• Obispeño Language

• Ofo Language

• Pamlico Language

• Piro Language

• Pomo, Eastern Language

• Pomo, Northern Language

• Powhatan Language

• Purisimeño Language

• Quiripi-Naugatuck-Unquachog Language

• Salinan Language

• Shinnecock Language

• Siuslaw Language

• Susquehannock Language

• Takelma Language

• Tillamook Language

• Tonkawa Language

• Tsetsaut Language

• Tunica Language

• Tutelo Language

• Twana Language

• Upper Umpqua Language

• Ventureño Language

• Wappo Language

• Wiyot Language

• Wyandot Language

• Yana Language

• Yaquina Language

• Yonkalla Language

U.S. Virgin Islands

• Negerhollands Language

Mexico

• Chicomuceltec Language

• Cochimí Language

• Náhuatl, Classical Language

• Náhuatl, Tabasco Language

• Pame Sur Language

• Tepecano Language

• Tubar Language

COLONIAL LUICIDE LISTCanada

• Beothuk Language

• Bungée Language

• Laurentian Language

• Pentlatch Language

• Tsetsaut Language

• Wyandot Language

United States

• Abnaki, Eastern Language

• Adai Language

• Alsea Language

• Atakapa Language

• Barbareño Language

• Biloxi Language

• Cayuse Language

• Chehalis Language

• Chimariko Language

• Chitimacha Language

• Coquille Language

• Costanoan, Northern Language

• Costanoan, Southern Language

• Cowlitz Language

• Cruzeño Language

• Delaware, Pidgin Language

• Eel River Athabaskan Language

• Esselen Language

• Etchemin Language

• Galice-Applegate Language

• Hanis Language

• Ineseño Language

• Iowa-Oto Language

• Island Chumash Language

• Jersey Dutch Language

• Karkin Language

• Kathlamet Language

• Kitsai Language

• Kwalhioqua-Clatskanie Language

• Loup A Language

• Loup B Language

• Lower Chinook Language

• Lumbee Language

• Mahican Language

• Maidu, Valley Language

• Massachusett Language

• Mattole-Bear River Language

• Miami-Illinois Language

• Miluk Language "Colonial after effects of Luicide"

Gips, Metallkette, Hose, Schuh

Elisabeth Penker: C.T. Structure(kulturelle Übersetzung) (2003)(Acryl auf Holz, 77cm H, 82cm B, 22 cm T - insgesamt 3-teilig)

Das Werk von Elisabeth Penker lässt sich sowohl von einer bildhauerisch-visuellen Seite wie von einer musika-lisch-performativen Seite betrachten.Die vorliegenden Reliefs geben natürlich eher den Einblick auf den erstgenannten Aspekt. Es ist jedoch von Nutzen, zu wissen, dass diesen räumlichen Konstruktionen komplexe Überlegungen zugrunde liegen, bei denen sich räumliche Organisationen an sprachlichen und musikalischen Prinzipien orientieren. Die Künstle-rin ist selbst musikalisch aktiv, baut Bühnen und integriert die Betrachter/innen in den Prozess des Kunstwerkes. Dieser versteht sich immer als Referenz auf die Konstruktion von Raum und Bedeutung und darauf, wie diese aus unserem Verhalten heraus konstituiert und damit wahrgenommen werden.

Kunst im Parlamentkuratiert von Peter Pakesch

Liste von Sprachen (nicht vollständig), die durch den euröpäischen Kolonialismus ausgerottet wurden