The First Art Newspaper on the Net   Established in 1996 Sunday, April 18, 2021

Austrian pavilion opens with exhibition of works by Renate Bertlmann
Renate Bertlmann, THIS TOO SHALL PASS, 2015. Digitalfotografie, diverse Mae Renate Bertlmann. Photo: Renate Bertlmann.

VENICE.- Renate Bertlmann’s complex oeuvre bespeaks an artistic commitment that is both aesthetically and conceptually intricately connected to an aesthetics of risk. Always keeping a keen eye on the transformative potential of difference as a counterweight to power, the artist oscillates performative, sculptural, graphic, photographic, filmic, and textual aspects between the past and the present, between dispossession and covetousness, between the everyday and the unusual, between art and life. Renate Bertlmann not only distinguishes herself through her extraordinary formal and conceptual precision: The agitative programmatic character of her work, under the artistic motto “Amo Ergo Sum,” and her obsessive exploration of body images directly address the sociopolitics of popular culture. Already at the beginning of her artistic career, Renate Bertlmann knew to question institutional conditions and concepts of art both critically and enthusiastically by using the individuality of materials as a jumping-off point for her analytical feminist reflections and laying bare the mechanisms of the art system. All the more formidable, then, that she manages to sensuously, impressively negotiate these questions in a synthetic enactment using performative and traditional forms of expressions.

For her exhibition at the Austrian pavilion, Renate Bertlmann developed an installation entitled Discordo Ergo Sum (“I dissent, therefore I am”). By rephrasing the philosophical principle cogito ergo sum (“I think, therefore I am”), the artist attempted to dismantle logocentrism’s supremacy of logocentrism and to describe herself in her insurgent self-image. On the basis of her subversive artistic axiom Amo Ergo Sum (“I love, therefore I am”) the striking work in front of the pavilion, with which Bertlmann signs the pavilion like a canvas with the same irony we know from her previous work, and the installation of knife-roses covering the pavilion’s entire courtyard, as “a precise grid of 312 roses, a kind of red army standing at attention in the sun” (Beatriz Colomina) display a synesthetic artistic commentary that allows us to sensuously experience the dichotomy of our existence. This subversive treatment puts the principle of her artistic approach in a nutshell.

Causing upheaval at the highest level, Bertlmann appropriates the arsenal of social symbols, breaks it open and reassesses them feministically. In this process, contradictions stand side by side in accord, are made to oscillate, and are perceived as an expression of human diversity and plurality. From the nimble foundation of the artist’s two central figures, the lover and the insurgent, emerges a transitional space where incongruities convene, separate things change sides, and hierarchies and dichotomies are set in motion. Created in an interplay of conceptual, aesthetic, and material intensities, this space offers a basic tension that, on the one hand, critically presents itself as personal and sociopolitical phenomena of global developments and, on the other, points to the transformative potential of art in aesthetical and sociopolitical contexts.

Between this foundational movement in the exterior space and the pavilion courtyard, the exhibition space gives way to a cartographic view of Renate Bertlmann’s artistic practice. Reproductions of her charts, sketches, photos, filmstrips, and drawings in a box inserted to fit into the pavilion creates a contemplative zone where visitors immerse themselves in Renate Bertlmann’s artistic self-understanding and can perceive it in relation to the new installation.

The display, the brainchild of StudioVlayStreeruwitz—an airy, paper-like box folded and inserted into the pavilion—creates an interior that strips the pavilion of much of its significance and, in its temporary function, declares it a ruin.

Renate Bertlmann (*1943 in Vienna) studied at the Academy of Arts in Oxford in 1962/63 and subsequently at the Academy of Fine Arts Vienna until 1970. After graduating in Painting and Restoration, she was a lecturer at the Department of Conservation and Technology at the Academy until 1982. She lives and works in Vienna. In her work Bertlmann explores representations of roles and bodies, questioning gender relationships by discussing subjects like pornography, sexuality, violence, Eros, and hierarchy. Her works are particularly characterized by a provocative, ironic approach.

She has been a member of the Vienna Secession since 1993 and a coeditor of the magazine [sic!] – Forum fr feministische Gangarten since 1994. In 2007, she received the Prize of the City of Vienna and in 2017, the Grand Austrian State Prize.

Today's News

May 14, 2019

Palace of Versailles brings together five internationally renowned photographers

Hollywood icon Doris Day dead at 97

Two works from the collection of Charles Aznavour will be offered at Christie's Paris in June

Rare Lowry painting of cricket match to appear at auction this summer

Large-scale new works by Sean Scully presented in collaboration with Abbazia di San Giorgio Maggiore

Toomey & Co. Auctioneers sets record prices with 'The Somerson Collection'

RM Sotheby's to offer the oldest car to wear the Porsche badge

The Georgia O'Keeffe Museum welcomes Director Cody Hartley

Call to save judge's copy of Lady Chatterley's Lover used in famous obscenity trial

Piguet Auction House announces highlights included in its May grand sales

Exhibition shows David Hayes' jewelry as sculpture

A tantalising selection of over 600 objects from East and West come to auction at Matthew Barton Ltd

Space exploration memorabilia, including Neil Armstrong Collection, brings $4.57 Million at Heritage Auctions

Jonathan Berger named Deputy Director of Marketing and External Affairs of Newfields

SAM's Olympic Sculpture Park debuts new site-specific work by Brazilian artist Regina Silveira

Espace Louis Vuitton in Venice presents a whole new installation by French artist Philippe Parreno

International fine art leads the sale at Shannon's

In Lebanon, vintage film posters question Western cliches

European Roma Institute for Arts and Culture opens 'FUTUROMA' in Venice

Austrian pavilion opens with exhibition of works by Renate Bertlmann

Mead Schaeffer leads Swann Illustration Sale with Moby Dick design

Boonserm Premthada named winner of the 2019 Royal Academy Dorfman Award

John Brennan Music Collection featuring an incredible selection of 100 signed guitars up for auction

American art going strong at Heritage Auctions' with eight artist auction records

16 Best Jaw-Dropping Cosplays

How to choose the right high heel shoes for the dress


Improve Your Sense Of Hearing With Nano Hearing Aids

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful