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.
Partially related to NO.HOT_L, RESTE INTER PIÈCES is an artistic, ritual disposal of objects. While one piece rests in the present, another (sometimes part of a couple or triple) is disposed of somewhere else.
MUSEUM OF MEMORY (Site specific, Work In Progress) A takeaway house NO. HOT_L (Site specific, Work In Progress) Interventions in temporary living roomsPINK BRIGADES touristic artivism in cooperation with art-lodgeONE, TWO, FOUR (documentary film, in production) A tale told from the point of view of a child and its first ten years of perceiving the world.
25DPH is a copy / remake of Chronik der laufenden Ereignisse (1971), a film by Peter Handke, as drawings of single film frames – 129.184 in total. The process of drawing as durational performance as never ending process of copying and archiving the ephemeral.
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
AAA! (Almost Aged Actionists Anonymous) is an artistic self-help group with the aim of exchanging and developing intervention ideas that can easily be converted into practice by single persons. The interventions and actions deal with realities of women over 40 on the borders of public and private spaces, of legality and with role constructions and clichés.
AAA! was started in the context of the festival Wienwoche in 2018. Actionist ideas and other inspirations from informal meetings have been collected on the AAA!website since then as work-in-process.
Where should all the vinyl records go that DJs and record collectors do not want or need any more? They just auction them at a minimal prize. And because they have something to say about them that is usually unheard, DIE VORSPIELSERVICE is a very entertaining show with mostly unexpected crazy comments, singing along and enthusiastic audience participation.
Jebo Te! was first launched in 2003 as part of The Handke Collection as statement about impossibilities of translation and blurriness of semantics. The first 100 items were initially exhibited in the framework of Operation Figurini (Steinbrener / Dempf).
Jebo Te! consists of individually chosen pieces from the wardrobe of the artist, each connected to a special memory. Relabeling every item manually even makes fast fashion unique, an original copy, recalls practices of authorship, signature, fake and appropriation as well as the hidden work in global sweat shops and homes.
In an ever changing world of fluid and transitory signs like the codes of fashion, how can we interpret what is written on us or influence the way it is (or we are) read? How many memories do we get rid of by disposing of our clothes?
Jebo Te! is an emphasizing exclamation in Ex-Yugoslavian languages. It could be literally translated as „Fuck You“. But doesn’t every translation lead to misunderstandings and conflicts, whether literal or not? Or to say it with Saint-Exupéry: language is the source of misunderstanding.