Category: INSTALLATIONS

MUSEUM OF MEMORY (2024)

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The history of the Lederermayerhaus in Unterach (Upper Austria) dates back to the beginning of the 18th century. Today it stands – almost unaltered – in the center of Unterach and defies the times. Using artistic participatory research methods, Amina Handke sets out in search of the (hi)stories, present and possible future of this very special place.

The Museum of Memory displays objects with history(ies) from the original inventory of the Lederermayerhaus and thus offers many opportunities for participatory speculation: What is original, genuine, history, memory, value? 

By purchasing these objects, you can take part, call unique pieces from Unterach your own and simultaneously support the preservation of the Lederermayerhaus.

VISIT THE VIRTUAL MUSEUM / SHOP

MUSEUM OPENING MAY 2024

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Pictures by Felix Reisenhofer

HOME INVASION (2022 – ongoing)

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Home Invasion deals with questions of freedom of global circulation. There are long lists of organic substances prohibited for import by travelers, depending on where they come from and where they are going. On the other hand, matter spreads around the globe uncontrollably, fueled by movement of goods.

The Home Invasion bottle message jars are as „free“ as some movements or thoughts. They are re-labeled, refilled and smuggled, then left to be taken and to contemplate the value of matter in the right or wrong place. This abstract value is one we give to almost everything. Art may remind us of how relative it can be. What has an ideational value for one may be worthless for everyone else.

The collector of Home (Made) Invasion is also free to attribute value to her or his jar that symbolically crossed borders for them. The act of taking a picture and mailing it to the artist adds to surmount the passivity assigned to art consumers, rewards the curiosity on both sides as one of the most important drives to understand the world around us, and finally completes a circle and the swap deal. Home Invasion is also a possible answer to the question: What remains? And what was it worth?

Initiated in 2022 as part of an artist residency in Chicago, Amina Handke spreads a few Home Invasion jars in art places around the world. To this date (December 2024) a total of 12 jars – each from the artist’s country of origin, Austria, and unique in terms of shape and content – are circulating. They were originally installed in Chicago, USA (Zhou B Art Centre), Alghero, Italy (Museo Casa Manno); Venice, Italy (Austrian Biennale Pavilion), Istanbul, Turkey (Müze Gazhane) and Berlin, Germany (ZK/U). The Pictures that were sent to the artist by the finders/collectors a year later are published here:

NO.HOT_L (2022 – ongoing)

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Artistic interventions in temporary travel spaces

NO.HOT_L is a transdisciplinary artistic intervention series temporarily accomodating in holiday apartments and other transitory living spaces. Performative, installative and collaborative artistic interventions developed on site deal with phantoms and questionable aspects of “travel”, “home” and “work”. Amina Handke as artist and curator uses given space and furniture to create communicative stagings, recombinations and present-tations in the no/wo/man’s land between private and public.

Comparably, definitions of authorship are being expanded, as more artists and art related persons based both on-site and abroad are invited to collaborate and contribute. The ensemble of works, exchange and processes is the declared aim and product: The apartment is the exhibition, the exhibition a film setting, and the film is shown in the apartment. The cast of “artists” and “audience” is overlapping while exchanging informally in the Salon and connecting simultaneously with other places and times via portable devices and the internet wormhole.

Site specific, transdisciplinary, collaborational and communicational micro events

CHICAGO 22 EDITION

June 15 – 19, 2022

DFBRL8R GALLERY & ZHOUB ART FOUNDATION

ISTANBUL 22 EDITION

October 6 – 19, 2022

ISTANBUL BIENNALE PARALLEL EVENT IN COOPERATION WITH PASAJ

BERLIN 23 EDITION

November 26 – 29, 2023

IN COOPERATION WITH ZK/U AND ISTANBULBERLIN

PARIS 24 EDITION

April 12 – 16, 2024

SUPPORTED BY L’EUROPE AUTOUR DE L’EUROPE AND LE NEUVIÈME PAYS

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GOATS AND MONKEYS (2021)

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two screens, synthetic material, mirror, printed paper, lacquer. 2x41x48

The outdated technical feature of “snow” illuminates objects on the screen’s surfaces as burnt-in images that are not digital anymore, mirroring shadows of our media perception. The title – a quote from OTHELLO – refers to ghosts of the (also outdated forms of) theatre: its audience, and to depreciation of animals and life in general.

THE HANDKE COLLECTION (1999 – ongoing)

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ARTIST BOOK (edition of 500, 2001)
EXHIBITION FORMAT (2000; 2019)

The Handke Collection is an unfinished self portrait consisting of countless objects, memories, remains and works by Amina Handke and other people.

The artist book publication of the Handke Collection assembles texts and reproductions of artistic works, correspondences, photographs, newspaper clippings, video stills and notes which join in a picture story that recounts life and work of the artist, stage designer, ex- tv station co-owner and DJ Amina Handke.

Including texts, fragments, pictures, correspondences and findings by and with Andrea Pesendorfer, Annette Messager, Erich Joham, Max Goldt, Tobias Urban, katsey, Thomas Rottenberg, Hermes Phettberg, Peter Handke, Ruth Ehrmann, Paul Divjak, Wolfgang Kopper, Yves Chaudouet, H. M. Enzensberger, Maria Ziegelböck, Maja Stefanovic and many others.

Artist Book, 2001
Artist Book, 2001
Sammlung Handke at Galerie Freihausgasse Villach, 2019

APPROPRIATED BEGGARS (2013)

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Seven channel video installation (HD, colour, sound)

Nine persons – partly performers, partly beggars in real life – portray beggars, themselves or themselves as beggars. The definitions of professional portrayal and authentic situations blur facing the impossibility of recognizing “real” adversity by observation. How must beggars – comparable to the demands of other working environments, not just in performing arts – portray poverty in order to fulfill the expectations attached to their role? Is the authenticity of the portrayal more relevant than the authenticity of the adversity?

Restrictive dealing with beggars and poverty determines public discussions in the media and politics.  Here a tenor toward symptom elimination and conspiracy theories (“Beggar mafia”) appears to mark a climax in the helplessness regarding consequences of worldwide injustice.

Emotions evoked by the adversity or helplessness of the “other” can be observed and reflected in a “protected space” – that is, time- and spacewise shifted – as we do not have to react immediately to encounters with present persons.

This work, based on Kutlug Ataman’s video installation Beggars, is an homage to the artist and can also be regarded as an ambiguous commentary on the controversial and complex discussions about copyright law and art. Inconsistencies between rules protecting intellectual property and the referentiality based art production system are made clear by deliberately referring to the idea as juristically not protectable basis of artistic work.

In this work, referentiality as a basis of cultural developments is being concatenated with patterns of social phenomena and structural conditions of artistic production.