Irene Andessner
Born in Salzburg, Irene studied in the Plastic Art Acadamies of Venice (Emilio Vedova) and Vienna (Max Weiler, Arnulf Rainer). Her principal theme, since 1988, has been the self-portrait. Initially she painted them, though, since the mid-90s, she has created living altarpieces (tableaux vivants), photographic stagings and video recordings. Substituting the painted self-portrait, she places herself in her scenes, interpreting well-known, and culturally diverse roles. She creates personal imitations of characters from art history or contemporary history (Sofonisba Anguissola, Constance Mozart), as well as sacred images (the black Virgin), fictitious characters (Rachel from “Bladerunner”), and modern myths (Marlene Dietrich). In the project, “I.M. Dietrich,” the identification with the role was so extreme that she adopted the last name of the mythic actress by means of an actual wedding. As “Wanda,” she (re)produces the ideal image that masochist Leopold von Sacher-Masoch had of women, exactly as he presented it in his novel Venus in Furs. In 2006, she interpreted the surviving portraits of Mozart (“I.A. Mozart”), questioning their authenticity.
Ongoing projects: “I.A.M. Ida/Artemis/Merian”, photographic productions in the Natural History Museum of Vienna (Ida Pfeifer, Maria Siblla Merian, Artemis, goddess of animals). “Viennese Women”: 20 Viennese women from the 18th and 19th century displayed as public art (Citylight-Poster). “Virgin of Art”, Malaga, 2009.
Carlos Schwartz
Since the late eighties, while in continuous aesthetic evolution, the works of Carlos Schwartz (La Laguna, Canary Islands, Spain, 1967) have brought us closer to the codified world of symbols and myths through inquiries about the sources of western culture. Although Schwartz has made the pictorial sign his privileged vehicle of communication, his pieces combine materials such as: cardboard, painted paper, silicone, wire, tampered photos, and, most recently, fluorescent tubes and neon letters. As well as breaking down borders between genres and motifs, these products indicate an inventive search for new content for this dominating, symbolic language.
His latest, most notable expositions took place in Porto (Graça Brandao), Almagro (Fúcares), and Malaga (JM), as well as a travelling exposition in Fez, Tangier, Tetuan, Rabat and Casablanca (Cervantes Institute). Currently, he develops his artistic activity in Madrid, Santa Cruz de Tudela and Berlin, where he recently participated in Umwandlung - a sample of how different artists reflect upon their connection to the constantly changing German city.
Iván Pérez
Through photography, installation and video, the works of Iván Pérez (Tineo, Asturias, Spain, 1973) dissect daily reality to critique local programs, for example: tourism, museums and institutes. These programs are often motivated by research centered upon the figure of the spectator. He employs clips that respond to social circumstances in contemporary scenarios. He presents us with an objectivist report, without leaving out the ambivalence and uncertainty of that which is real.
Iván Pérez was trained in the International Center of Photography in New York, the Aki School of Fine Arts in Holland, and the University of Castilla de la Mancha (Spain). His work has been widely shown in individual and collective expositions, and in festivals in Spain, Holland, and the United States.
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