The First Art Newspaper on the Net   Established in 1996 United States Friday, November 22, 2019


Kunsthaus Bregenz opens an exhibition of works by Raphaela Vogel
Raphaela Vogel, Rollo, 2019. Installation view, third floor, Kunsthaus Bregenz, 2019. Photo: Markus Tretter. Courtesy of the artist © Raphaela Vogel, Kunsthaus Bregenz.


BREGENZ.- The lions, a symbol of power and masculinity, open their mouths as if in a piercing cry of pain. They each press powerfully down on a snake’s body with their paws, the serpents stretching their heads out. These are their last stirrings before being mortally clawed by the feline predators. Raphaela Vogel dangles two copies of this monumental sculpture from the ceiling, attaching the weighty bronzes with chains and straps. The colossi hang upside down as if falling, a grotesquely inverted trapeze act. “These strongest creatures in the animal kingdom are also present in front of the Berlin district court,” says Vogel. The two bronze sculptures were probably cast in 19th century Italy. Black spheres hang from their noses, which are, in fact, Audiorama loudspeakers manufactured by Grundig in the 1970s. The voice of Raphaela Vogel emerges from them, singing a song by pop singer Milva; oppressive, gloomy, and lost.

Fears, reflections, and bizarre architectural decoration are all amongst Raphaela Vogel’s recurring creative tools, as is the music that accompanies her installations. Always sweet, wistful melodies, they are played on the accordion or piano, contrasting with weighty structures, kaleidoscopic videos, and massive sculptures.

On the first floor Raphaela Vogel is showing spider figures. A cracked plastic shell sits on one of them, like a white skeleton or a skin, making it appear as if the spider is “shedding skin or mating.” Vogelspinne (literally tarantula) — the title of her exhibition at Galerie BQ in Berlin in 2019 where the figures were shown for the first time — is a play on Vogel’s own name and alter ego, evoking a widespread fear of spiders. Surfboard sails have been erected, their colorful plastic sheeting glimmering like mysterious animal eyes. Another construction displays chrome-plated steel struts that form a weblike framework: a spider-like roof structure, from whose gable a bundle of staring dolls hangs. Vogel conveys the viewer into a world of fears, the abysses of desire, loneliness, and hypnosis. She is invested in ideas around “horizontal sculpture,” inspired by Land Art and above all Nancy Holt and her husband Robert Smithson. An HD screen is present that has been combined with aluminum struts that, like tentacles, divide the space into eight sections. Vogel stands on a rock, the spray of a turbulent sea surging around her. Everything spins, the waves have been warped and distorted, the imagery reminiscent of a screensaver that never achieves tranquility. It is a psychedelic, almost mythical scene, a “panorama of the fear of death,” filmed by a drone. The screaming of a baby is audible, slowed to such an extent that the voices whine like sirens, culminating in a noise and once again the voice of the singer Milva, singing Ich hab’ keine Angst (I Have No Fear), accompanied by Edith Clever reciting the “fear of death” scene from Kleist’s The Prince of Homburg.

On the second floor, the artist is showing an installation that was on view at the Berlinische Galerie. The supporting structures of two storage tents interlock. Such rails and steel struts are typical of Vogel’s work, embracing the recycling of disused stages, discos, and defunct adventure parks. The multiple-beam construction forms a tubular space that is entered via a Chinese gate. A polyurethane dragon surrounds the entrance, the ornamentation imitating the moldings of typical Chinese restaurants. At the other end is a screen, tracking Vogel through a tunnel, lying in a bed, filmed from above, in “postcoital fatigue.” This image also spins, provoking states of dizziness and anxiety, whilst the music ripples away. At the end, the protagonist, always portrayed by Vogel herself, is pursued by a drone. The flying spider is a sinister shadow, a technoid tattoo, a crosshair on her body and the landscape.

The top floor houses a work specially developed for Kunsthaus Bregenz. Raphaela Vogel has acquired the remains of a disused miniature model park. The models are weathered and covered in moss: Tower Bridge, the Arc de Triomphe, the Statue of Liberty, Vienna’s Giant Wheel, the Frauenkirche in Dresden, and the Victory Column in Berlin. “The Kunsthaus, too, is a sign, a landmark, and an image for marketing the town.” The replicas are connected by chromed pipes, like supply lines running around a construction site. They lead to a central sculpture consisting of a video projector and loudspeakers, the whole resembling the Atomium in Brussels. A film is being screened, Vogel sings a German interpretation of Nina Simone’s Ain’t Got No, I Got Life from the musical Hair, an array of missing and regained possessions and relationships, a “universal parable, a sort of inventory list of having and not having, an existential debit and credit.”






Today's News

October 19, 2019

Tate Modern opens a major exhibition of the work of visionary artist Nam June Paik

Textiles designed with warp, woof and wit at MoMA

Trilobite fossils show conga line frozen for 480 million years

MoMA's art treasure, no longer buried

Dubliners seek to repatriate James Joyce's remains from Zurich

Exhibition examines the transformative influence of the culture of feasting on the visual arts of China

El Greco, Goya and Sorolla at the Meadows this fall

James Cohan now represents Jordan Nassar

Exhibition presents characteristic examples from Jesús Rafael Soto's most important series

American gives his art collection to Scotland

The Jewish Museum presents 'Edith Halpert and the Rise of American Art'

Hindman brings in major industry players to helm business development and fine jewelry

The Frick Pittsburgh presents 'Katharine Hepburn: Dressed for Stage & Screen'

Reflex Amsterdam presents 'Letting Go' by British artist Gavin Turk

Salzburger Kunstverein opens an exhibition of works by Adrian Paci

Kunsthaus Bregenz opens an exhibition of works by Raphaela Vogel

A titanic success? Belfast sees both sides of Brexit deal

Teresita Fernández's first mid-career survey opens at the Pérez Art Museum Miami

Works by the Scottish Colourists on display at Abbot Hall Art Gallery in Cumbria

Anita Leisz creates a new group of works for exhibition at mumok

Flesh And Blood: Italian Masterpieces from the Capodimonte Museum opens at Seattle Art Museum

Exhibition examines how the concept of the icon unites sacred worship and the idea of transcendence

"From Alberto Pasini to Hans Richter: from Orientalist to Dada": An exhibition at Ponti Art Gallery

Christie's announces the autumn series of The Collector Sales X Rita Konig

5 Tips to Make Moving Your Office More Efficient




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, .

 



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

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

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