EXHIBITION
Walentina Ammann, Felix Brinkmann, Amanda Burzić, Sabine Dichatschek & Tabitha Haynes, David Kapl, Dasol Kim, Anja Korherr, Catrin Manoli aka Cooky, NiR & Pan Kaijian潘开建, Miriam Pranter & Miriam Roithinger, Emily Ramharter, Georg Schuchlenz Gastronomy : Mohammad Reza Rasouli Distant digital Zoom curation by / 远距离数字策展团队
I: project space
Marlene Hausegger
Muxia Liu 刘沐夏 Collaboration between
Kunst Universität Linz (Department of Experimental Design) and I: project space
此项目由林茨艺术设计大学（实验艺术系）和I:project space合作呈现。 Eating distance
The group exhibition “Eating distance” is a constellation of works that attempt to restart hospitality and sharing thoughts in a time of reduced mobility worldwide. Through hosting the visitors at a dinner table while sharing a meal between Linz and Beijing, they start to untangle complex histories and question current issues, from globalisation, cross-cultural communication to predicting the future through fortune telling. This first serving of art, food and politics introduces some of the issues and ideas that are pressing for our current time.
Mobility has been an important factor in the art world since the 1950s. Creating art has become synonymous with movement, travel and encounters. However, the mobile art world has been facing new challenges since last year: What does it mean to displace our experimental group, from one continent to another? How does such an initiative engage with a new local context without a real physical presence? How do we take account socio-cultural dynamics? Now a radical questioning of the conventional artistic production and presentation system is necessary: research, creation and presentation as well as, above all, international exchange.
As part of the course “Thinking over borders” the students of the Kunst Universität Linz discussed and tested new ways of art production and exhibition practice on the basis of an exhibition at Aotu Space in Beijing. 吃饭的距离
群展“吃饭的距离”试图通过一系列作品在全球范围内活动仍然受限的情况下重启热情好客的款待并分享思考。通过在餐桌上招待访客，在林茨和北京两地同时共享餐点，该展览尝试开启拆解复杂历史并质疑当前问题的渠道—— 从全球化、跨文化交流到通过占卜预测未来等。这一份融合艺术、食物与政治的项目介绍了我们当前紧迫的问题和想法。
自1950年以来，“流动性”始终是艺术世界的重要因素。创造艺术已然成为运动/流派、旅行和邂逅的代名词。然而，流动的艺术世界自去年起便面临着全新的挑战：将实验性的创作从一片大陆转移到另外一片大陆意味着什么？在没有真正实体出现的情况下，这样的行为如何与当地的环境进行互动？我们又该如何考虑社会文化动态？针对传统的艺术产出和呈现系统的质疑在现在十分必要：包括调研、创作与展示，以及最为主要的国际交流。
作为“越过边界的思考”课程的一部分，林茨艺术设计大学的学生在北京凹凸空间实现的展览基础上讨论并实验艺术创作输出和展览时间的新方法。 About 关于
Walentina Ammann
unsaid.
Mixed media, e-piano, cotton, 2021
The inability to express emotion.
Thoughts that cannot be put into words.
Choking up on the verge of crying.
Missed opportunities.
Stifling social situations.
Suffocating family patterns.
The deliberate destruction of the black keys limits the expression the instrument and its player. Walentin Ammann
说不出口
综合材料，电子钢琴，棉花，2021
无法表达的情感。
无法用语言描述的想法。
于窒息的哭泣。
失去的机会。
压迫性的社交场合。
令人窒息的家庭模式。
故意破环的黑键限制了乐器和演奏者的表达。 Felix Brinkmann
Inscriptions
Mixed media, silicon hands, delivery bag, stickers, pen, 2021
We form these hands; we shape these lives.
A hand holding a food delivery reaches through the wall into the gallery space. The visitors are engaged to write down reasons for ordering online and to afterwards adhere them to the hand.
The bare working-hand objectifies anonymized and unpersonalised labour. It is frozen in the gesture of serving. In todays digitalized world the production and shipping of goods obscures more and more in the background behind one-way-designed, “customer-oriented” ordering-platforms. The delivery of an ordered good to the customer as the last visible link in the chain of production is used as a gate through which can be reached back into this chain.
The small interaction with the hand of an abstract servant can build up empathy for the people involved in production, those seemingly faceless other(s) behind the wall, and it can also contribute to an awareness for the weight of one’s own habits and justifications in the very shaping of their hands and their movements.
Ultimately the question thrown up is: What do we want to do with the hand(s) that feed us?
The whole sculpture has itself been ordered on Taobao. Felix Brinkmann
铭文
综合材料、硅胶手、配送袋、贴纸、笔，2021
我们创造这些手，我们塑造这样的生活。
一只拿着配送袋子的手穿过墙壁进入展览空间。来访者可以写下线上订购的原由并将答案贴在手上。
仅有的一只手具体化了匿名且普遍的劳动——它被冻结在了正在服务的姿态。在当今的数字化世界中，商品的生产和运输在“以客户为导向”、单向设计的订购平台背景下逐渐模糊。将所订购商品交付给顾客的配送环节作为整个生产链上的最后一个可见环节，也在这件作品中作为返回到链中的入口。与这一抽象的、配送者的手的微小互动可以建立与生产者的同理心——这些看不到面孔的、隐藏在墙后面的更多的人——同时，这一与作品建立的行为也将帮助来访者通过互动中自己的手与动作而建立对来访者自身的生活习惯的认识和合理解释。
最终被提出的问题是：我们究竟想用这些“喂养”了我们的手做些什么？
整件雕塑作品自身通过淘宝订购。 Amanda Burzić
Portraits of people that have prepared food for me
Postcards, 2021
Burzić visited friends and family and they cook food for her. After they finished eating, she took a photo of them in their kitchen. Amanda Burzić
为我准备食物人的肖像
明信片，2021
Burzić 拜访了朋友和家人——他们都为她准备了食物。当他们吃完饭之后，她为他们在各自的厨房中拍了一张照片。 Sabine Dichatschek & Tabitha Haynes
Blob
HD video, 03:33 min, 2021
A film by Sabine Dichatschek with music by Tabitha Haynes.
On the theme of science fiction, the video features futuristic food with a surreal twist. It is sensual, beautiful and delicious.
In the video, tension builds in an uncanny atmosphere. The food served, undefined shapes on a plate, begin to throb and come alive. Questions arise about artificiality and reality. The distributed roles become blurred. Who is the food and who is eating? Sabine Dichatschek & Tabitha Haynes
Blob
高清影像，3分33秒，2021
Blob是一个由Sabine Dichatschek 创作的影像作品，音乐由Tabitha Haynes创作。
在科幻小说的背景下，该影像作品呈现了带有超现实色彩的未来主义食物。它是感性、美丽且美味的。
在这件作品中，紧张的状态在诡异的气氛中形成——被端上的食物，盘子中模糊的形状开始跳动并活跃起来——关于人造与现实的问题随之而来，分散开的角色也变得模糊。究竟谁才是食物而谁又在吃？ David Kapl
versus 1
Digital photo print, 70 x 50 cm on alu dibond, 2021
All rivers flow into the sea.
A dialog that is guided by thousands of miles of fishing line in the silent, underwater. David Kapl
对抗 1
数码照片印刷，铝板装裱，70 x 50 cm， 2021
所有的河流都汇入海洋。
在安静的水下，一个由千里鱼线引导的对话。
Dasol Kim
Difference of System, 2021
Textile, 40x35cm, 60x50cm
Video, 0:32 sec
Looking at the different eating cultures reveals a lot about Austria and China. While Austria divides food into categories of pre-meal, main and dessert, Chinese food is not served with that distinction. Also, sharing food is less common in Austria and more the norm in China. What both countries share is that eating is the most basic factor in a person’s life. Dasol Kim
系统差异，2021
纺织品，40x35cm、60x50cm
影像，32秒
饮食文化的差异很大程度上展现了奥地利与中国的差异。奥地利具有明确的餐前、主菜与甜点三个分类，而中餐中并没有这样的明确划分。此外，分享食物在奥地利并不常见，而在中国则更为常见。与两国来讲，饮食作为个体生活中的最基本因素则是共通的。
奥地利和中国之间存在各种差异，饮食文化便是其中之一。 Anja Korherr
Untitled (Tablecloth)
Tablecloth, 2021
Every tablecloth carries the story of a past event. It can tell you about people eating together, coming together and connecting over the food they share. In this case, the story was made visible right before it was written. So, take a seat, enjoy, and let us come together on this dinner table. Anja Korherr
未命名
桌布，2021
每一块桌布都承载着过往的故事。它可以讲述人们分享食物，相聚并通过食物交流的故事。在这种情况下，故事在被写下前便已经可以被直接看到。所以，坐下来吧，让我们一起聚在这张餐桌旁。 Catrin Manoli aka Cooky
Broken
Video, 01:12 min, 2021
Installation, chicken bones, 2021
Bones are thrown into a fire. The over heating is creating cracks in the bones. They are encoded signs to read the future. Just as the bones always consisted out of a certain carbon compound, the pattern of cracks in the bones were repeated. Like the pattern on a capped smartphone. But if people live in the same era, they are more likely to experience something similar. A cross in the middle divides the time into two, or more. Looking up to the unconscious. The further away and closer to you, the bones are, they becoming aware who are. They fall in the past, the present and the future. If they all fall in the middle, it is manifesting the purest me, the purest you. The attraction of perception is arbitrary visible. But why is the earth draw forced pull the bones down forced to make the disbelief invisible. It is just a game, you always have to be aware of that. Otherwise, a chicken had to die for nothing, for your desire and for your knowledge. Bones like them are always cleaned with honor. Catrin Manoli aka Cooky
Broken
影像，xx分，2021
装置，鸡骨头，2021
被扔进火里骨头会因为高温而产生裂痕。他们是阅读未来的编码符号。正如骨头始终是由特定的碳化合物组成一样，这些骨头中的裂痕也有规律可循。但如果人们存在在同一时代，他们很大可能上会在经历相似的事。中间的十字将事件一分为二，抑或是更多，以此仰望无意识。骨头离你的距离，更远或是更近，也逐渐地建立意识。它们落在过去、现在和未来。如果它们落在中间，则表现的是最纯粹的你我。感知的吸引力是任意可见的。然而为何大地的力量会强行使骨头落地，也被迫使被怀疑的不再可见。你必须时刻意识到这只个游戏。否侧，为了你的欲望和知识，一只鸡无为而终。而它们的骨头则总是光荣地被清理。 NiR & Pan Kaijian 潘开建
Comiendo palabras – Eating words – 吃词 – Wenn du isst
Napkins, 2021
This napkin artist book deals with the topics of food, communication, and mistranslations in a transnational exchange between the two artists. The expression ‘eating words’ refers to when we talk and accidentally miss words, affecting to the final sense of the message. But thanks to new technologies or a good disposition, communication happens. NiR & Pan Kaijian 潘开建
Comiendo palabras – Eating words – 吃词 – Wenn du isst
餐巾，2021
这本餐巾艺术书涉及两位艺术家跨国交流中的食物、沟通以及错误的翻译理解。“吃词”也指在谈话中意外遗漏的词汇并影响了信息的最终含义。但多亏了新科技和良好控制，沟通得以放生。 Miriam Pranter & Miriam Roithinger
Conflicting feelings
Fortune cookies, 2021
Two women named Miriam were pregnant.
Miriam had her baby and Miriam lost hers. Both tell of experiences that any Miriam in this world could have and that affect every human being.
It is a careful attempt to bring the conflicting feelings and taboo subjects of this event, which has such a positive connotation, to the big table, sheltered in a biscuit. It is a first step towards bringing these human experiences into consciousness and integrating them into society as a whole.
Emotional, personal, secret feelings can thus be transformed into a spiritual general knowledge for men and women. Miriam Pranter & Miriam Roithinger
矛盾情绪
签语饼，2021
两位名叫Miriam的女人怀孕了。
Miriam生下了她的孩子，而Miriam失去了她的孩子—— 两者的经历可以发生在这世界上任何的Miriam身上同时也可能会影响到每个个体。
将矛盾情绪与禁忌话题通过饼干并带到大桌子上是一次拥有积极意义且十分谨慎的尝试，也是将这些人类经历带入意识并与社会融为一体的第一步。
由此，情绪性的、个人的、隐秘的感受可以转化成芸芸男女的精神通感。 Emily Ramharter
the smell of winter" / "运 ⽓气
Photography, 100 x 66 cm on alu dibond, 2021
"the smell of winter" / "运 ⽓气" is an artwork that deliberately deals with the different cultural associations of one and the same motif. An attempt to connect/bring both cultures closer to each other through an image.
In Austria we eat mandarins in the wintertime, mostly due Christmas. After eating we put the leftover peel on the heater, to make the room smell amazing.
In the traditional Chinese medicine (TCM) mandarins are considered as „cold fruits“.
The sour taste causes the body juices to stay inside and helps against too much sweating, therefore keeps the pathogenic moisture in the body, which is very unfavorable especially in case of mucous lungs with cough or cold. From this point of view, it makes little sense to eat citrus fruits in the cold wintertime.
Mandarins also stand for luck & fortune in China. Like a fruit, you can cut up the Chinese word for “fortune” and it turns into “gas”, which closes the circle to heating.
Apart from the fruit, in German we also say "Mandarin" for the Chinese language. Emily Ramharter
the smell of winter" / "运 ⽓气
摄影，铝板装裱， 100 x 66 cm，2021
"the smell of winter" / "运 ⽓气” 是一件旨在处同一主题下不同文化联想的作品，也是一次通过图像联结/拉近两种文化距离的尝试。
在奥地利，我们通常在冬天的圣诞节吃橘子。吃完后，我们会将剩下的果皮放在房间里的暖气上来改善房间的气味。
在中国传统的中医概念中，橘子被认定为“寒性”。酸味使体液滞留在体内，即有助于过多的出汗，也因此将致病的水分锁在体内——这对与肺部粘液相关的咳嗽或感冒是极为不利的。从这个角度来看，在寒冷的冬天吃橘子是没有意义的。
橘子在中国也象征着幸运和运气。像水果一样，中文词汇“运气”被分解后得到“气”又与暖气系统连接成这整个文化连接的循环。
除了水果之外，在德语中，我们也将中文称为“Mandarin” （橘子。 Georg Schuchlenz
Assembled in China
Mixed media, chopsticks, 2021
The artwork deals on the one hand with the supply chain and the exchange of goods between Austria and China and on the other hand with product labeling. A fabric produced in Austria and transported by freight train to China serves as working material for a product finished in China. Furthermore, a video draws attention to disposable chopsticks, every year 45 billion disposable chopsticks made of bamboo or wood are consumed, per year 25 million trees are cut down in China and two million cubic meters of wood from the forests are processed which are then sold worldwide. Georg Schuchlenz
在中国组装
综合材料，筷子，2021
该作品在一个角度上讨论奥地利与中国的商品贸易之间的供应链，而从另一个角度上讨论产品的标签。在奥地利生产的布料，经过货运列车运往中国，并最终成为在中国完成的产品原料——这些都会被正确的标记。此外，一段视频也引发了对一次性筷子的关注。每年，450亿副由竹子或木头制成的筷子销往世界各地，造成了中国每年2500万棵树木被砍伐以及200万立方米的森林木材加过。 Plakat.pdf
Eating distance
7. Juni 2021, ab 12.00 Uhr Dokapi, Kollegiumgasse 2, 4020 Linz und Aotu Space, Beijing
Ausstellung Studierender der Experimentellen Gestaltung zum Thema Gastfreundschaft und Gedankenaustausch in einer Zeit eingeschränkter Mobilität. Teilnehmende KünstlerInnen / 艺术家名单Walentina Ammann, Felix Brinkmann, Amanda Burzić, Sabine Dichatschek & Tabitha Haynes, David Kapl, Dasol Kim, Anja Korherr, Catrin Manoli aka Cooky, NiR & Pan Kaijian潘开建, Miriam Pranter & Miriam Roithinger, Emily Ramharter, Georg Schuchlenz Gastronomy : Mohammad Reza Rasouli Distant digital Zoom curation by / 远距离数字策展团队
I: project space
Marlene Hausegger
Muxia Liu 刘沐夏 Collaboration between
Kunst Universität Linz (Department of Experimental Design) and I: project space
此项目由林茨艺术设计大学（实验艺术系）和I:project space合作呈现。 Eating distance
The group exhibition “Eating distance” is a constellation of works that attempt to restart hospitality and sharing thoughts in a time of reduced mobility worldwide. Through hosting the visitors at a dinner table while sharing a meal between Linz and Beijing, they start to untangle complex histories and question current issues, from globalisation, cross-cultural communication to predicting the future through fortune telling. This first serving of art, food and politics introduces some of the issues and ideas that are pressing for our current time.
Mobility has been an important factor in the art world since the 1950s. Creating art has become synonymous with movement, travel and encounters. However, the mobile art world has been facing new challenges since last year: What does it mean to displace our experimental group, from one continent to another? How does such an initiative engage with a new local context without a real physical presence? How do we take account socio-cultural dynamics? Now a radical questioning of the conventional artistic production and presentation system is necessary: research, creation and presentation as well as, above all, international exchange.
As part of the course “Thinking over borders” the students of the Kunst Universität Linz discussed and tested new ways of art production and exhibition practice on the basis of an exhibition at Aotu Space in Beijing. 吃饭的距离
群展“吃饭的距离”试图通过一系列作品在全球范围内活动仍然受限的情况下重启热情好客的款待并分享思考。通过在餐桌上招待访客，在林茨和北京两地同时共享餐点，该展览尝试开启拆解复杂历史并质疑当前问题的渠道—— 从全球化、跨文化交流到通过占卜预测未来等。这一份融合艺术、食物与政治的项目介绍了我们当前紧迫的问题和想法。
自1950年以来，“流动性”始终是艺术世界的重要因素。创造艺术已然成为运动/流派、旅行和邂逅的代名词。然而，流动的艺术世界自去年起便面临着全新的挑战：将实验性的创作从一片大陆转移到另外一片大陆意味着什么？在没有真正实体出现的情况下，这样的行为如何与当地的环境进行互动？我们又该如何考虑社会文化动态？针对传统的艺术产出和呈现系统的质疑在现在十分必要：包括调研、创作与展示，以及最为主要的国际交流。
作为“越过边界的思考”课程的一部分，林茨艺术设计大学的学生在北京凹凸空间实现的展览基础上讨论并实验艺术创作输出和展览时间的新方法。 About 关于
Walentina Ammann
unsaid.
Mixed media, e-piano, cotton, 2021
The inability to express emotion.
Thoughts that cannot be put into words.
Choking up on the verge of crying.
Missed opportunities.
Stifling social situations.
Suffocating family patterns.
The deliberate destruction of the black keys limits the expression the instrument and its player. Walentin Ammann
说不出口
综合材料，电子钢琴，棉花，2021
无法表达的情感。
无法用语言描述的想法。
于窒息的哭泣。
失去的机会。
压迫性的社交场合。
令人窒息的家庭模式。
故意破环的黑键限制了乐器和演奏者的表达。 Felix Brinkmann
Inscriptions
Mixed media, silicon hands, delivery bag, stickers, pen, 2021
We form these hands; we shape these lives.
A hand holding a food delivery reaches through the wall into the gallery space. The visitors are engaged to write down reasons for ordering online and to afterwards adhere them to the hand.
The bare working-hand objectifies anonymized and unpersonalised labour. It is frozen in the gesture of serving. In todays digitalized world the production and shipping of goods obscures more and more in the background behind one-way-designed, “customer-oriented” ordering-platforms. The delivery of an ordered good to the customer as the last visible link in the chain of production is used as a gate through which can be reached back into this chain.
The small interaction with the hand of an abstract servant can build up empathy for the people involved in production, those seemingly faceless other(s) behind the wall, and it can also contribute to an awareness for the weight of one’s own habits and justifications in the very shaping of their hands and their movements.
Ultimately the question thrown up is: What do we want to do with the hand(s) that feed us?
The whole sculpture has itself been ordered on Taobao. Felix Brinkmann
铭文
综合材料、硅胶手、配送袋、贴纸、笔，2021
我们创造这些手，我们塑造这样的生活。
一只拿着配送袋子的手穿过墙壁进入展览空间。来访者可以写下线上订购的原由并将答案贴在手上。
仅有的一只手具体化了匿名且普遍的劳动——它被冻结在了正在服务的姿态。在当今的数字化世界中，商品的生产和运输在“以客户为导向”、单向设计的订购平台背景下逐渐模糊。将所订购商品交付给顾客的配送环节作为整个生产链上的最后一个可见环节，也在这件作品中作为返回到链中的入口。与这一抽象的、配送者的手的微小互动可以建立与生产者的同理心——这些看不到面孔的、隐藏在墙后面的更多的人——同时，这一与作品建立的行为也将帮助来访者通过互动中自己的手与动作而建立对来访者自身的生活习惯的认识和合理解释。
最终被提出的问题是：我们究竟想用这些“喂养”了我们的手做些什么？
整件雕塑作品自身通过淘宝订购。 Amanda Burzić
Portraits of people that have prepared food for me
Postcards, 2021
Burzić visited friends and family and they cook food for her. After they finished eating, she took a photo of them in their kitchen. Amanda Burzić
为我准备食物人的肖像
明信片，2021
Burzić 拜访了朋友和家人——他们都为她准备了食物。当他们吃完饭之后，她为他们在各自的厨房中拍了一张照片。 Sabine Dichatschek & Tabitha Haynes
Blob
HD video, 03:33 min, 2021
A film by Sabine Dichatschek with music by Tabitha Haynes.
On the theme of science fiction, the video features futuristic food with a surreal twist. It is sensual, beautiful and delicious.
In the video, tension builds in an uncanny atmosphere. The food served, undefined shapes on a plate, begin to throb and come alive. Questions arise about artificiality and reality. The distributed roles become blurred. Who is the food and who is eating? Sabine Dichatschek & Tabitha Haynes
Blob
高清影像，3分33秒，2021
Blob是一个由Sabine Dichatschek 创作的影像作品，音乐由Tabitha Haynes创作。
在科幻小说的背景下，该影像作品呈现了带有超现实色彩的未来主义食物。它是感性、美丽且美味的。
在这件作品中，紧张的状态在诡异的气氛中形成——被端上的食物，盘子中模糊的形状开始跳动并活跃起来——关于人造与现实的问题随之而来，分散开的角色也变得模糊。究竟谁才是食物而谁又在吃？ David Kapl
versus 1
Digital photo print, 70 x 50 cm on alu dibond, 2021
All rivers flow into the sea.
A dialog that is guided by thousands of miles of fishing line in the silent, underwater. David Kapl
对抗 1
数码照片印刷，铝板装裱，70 x 50 cm， 2021
所有的河流都汇入海洋。
在安静的水下，一个由千里鱼线引导的对话。
Dasol Kim
Difference of System, 2021
Textile, 40x35cm, 60x50cm
Video, 0:32 sec
Looking at the different eating cultures reveals a lot about Austria and China. While Austria divides food into categories of pre-meal, main and dessert, Chinese food is not served with that distinction. Also, sharing food is less common in Austria and more the norm in China. What both countries share is that eating is the most basic factor in a person’s life. Dasol Kim
系统差异，2021
纺织品，40x35cm、60x50cm
影像，32秒
饮食文化的差异很大程度上展现了奥地利与中国的差异。奥地利具有明确的餐前、主菜与甜点三个分类，而中餐中并没有这样的明确划分。此外，分享食物在奥地利并不常见，而在中国则更为常见。与两国来讲，饮食作为个体生活中的最基本因素则是共通的。
奥地利和中国之间存在各种差异，饮食文化便是其中之一。 Anja Korherr
Untitled (Tablecloth)
Tablecloth, 2021
Every tablecloth carries the story of a past event. It can tell you about people eating together, coming together and connecting over the food they share. In this case, the story was made visible right before it was written. So, take a seat, enjoy, and let us come together on this dinner table. Anja Korherr
未命名
桌布，2021
每一块桌布都承载着过往的故事。它可以讲述人们分享食物，相聚并通过食物交流的故事。在这种情况下，故事在被写下前便已经可以被直接看到。所以，坐下来吧，让我们一起聚在这张餐桌旁。 Catrin Manoli aka Cooky
Broken
Video, 01:12 min, 2021
Installation, chicken bones, 2021
Bones are thrown into a fire. The over heating is creating cracks in the bones. They are encoded signs to read the future. Just as the bones always consisted out of a certain carbon compound, the pattern of cracks in the bones were repeated. Like the pattern on a capped smartphone. But if people live in the same era, they are more likely to experience something similar. A cross in the middle divides the time into two, or more. Looking up to the unconscious. The further away and closer to you, the bones are, they becoming aware who are. They fall in the past, the present and the future. If they all fall in the middle, it is manifesting the purest me, the purest you. The attraction of perception is arbitrary visible. But why is the earth draw forced pull the bones down forced to make the disbelief invisible. It is just a game, you always have to be aware of that. Otherwise, a chicken had to die for nothing, for your desire and for your knowledge. Bones like them are always cleaned with honor. Catrin Manoli aka Cooky
Broken
影像，xx分，2021
装置，鸡骨头，2021
被扔进火里骨头会因为高温而产生裂痕。他们是阅读未来的编码符号。正如骨头始终是由特定的碳化合物组成一样，这些骨头中的裂痕也有规律可循。但如果人们存在在同一时代，他们很大可能上会在经历相似的事。中间的十字将事件一分为二，抑或是更多，以此仰望无意识。骨头离你的距离，更远或是更近，也逐渐地建立意识。它们落在过去、现在和未来。如果它们落在中间，则表现的是最纯粹的你我。感知的吸引力是任意可见的。然而为何大地的力量会强行使骨头落地，也被迫使被怀疑的不再可见。你必须时刻意识到这只个游戏。否侧，为了你的欲望和知识，一只鸡无为而终。而它们的骨头则总是光荣地被清理。 NiR & Pan Kaijian 潘开建
Comiendo palabras – Eating words – 吃词 – Wenn du isst
Napkins, 2021
This napkin artist book deals with the topics of food, communication, and mistranslations in a transnational exchange between the two artists. The expression ‘eating words’ refers to when we talk and accidentally miss words, affecting to the final sense of the message. But thanks to new technologies or a good disposition, communication happens. NiR & Pan Kaijian 潘开建
Comiendo palabras – Eating words – 吃词 – Wenn du isst
餐巾，2021
这本餐巾艺术书涉及两位艺术家跨国交流中的食物、沟通以及错误的翻译理解。“吃词”也指在谈话中意外遗漏的词汇并影响了信息的最终含义。但多亏了新科技和良好控制，沟通得以放生。 Miriam Pranter & Miriam Roithinger
Conflicting feelings
Fortune cookies, 2021
Two women named Miriam were pregnant.
Miriam had her baby and Miriam lost hers. Both tell of experiences that any Miriam in this world could have and that affect every human being.
It is a careful attempt to bring the conflicting feelings and taboo subjects of this event, which has such a positive connotation, to the big table, sheltered in a biscuit. It is a first step towards bringing these human experiences into consciousness and integrating them into society as a whole.
Emotional, personal, secret feelings can thus be transformed into a spiritual general knowledge for men and women. Miriam Pranter & Miriam Roithinger
矛盾情绪
签语饼，2021
两位名叫Miriam的女人怀孕了。
Miriam生下了她的孩子，而Miriam失去了她的孩子—— 两者的经历可以发生在这世界上任何的Miriam身上同时也可能会影响到每个个体。
将矛盾情绪与禁忌话题通过饼干并带到大桌子上是一次拥有积极意义且十分谨慎的尝试，也是将这些人类经历带入意识并与社会融为一体的第一步。
由此，情绪性的、个人的、隐秘的感受可以转化成芸芸男女的精神通感。 Emily Ramharter
the smell of winter" / "运 ⽓气
Photography, 100 x 66 cm on alu dibond, 2021
"the smell of winter" / "运 ⽓气" is an artwork that deliberately deals with the different cultural associations of one and the same motif. An attempt to connect/bring both cultures closer to each other through an image.
In Austria we eat mandarins in the wintertime, mostly due Christmas. After eating we put the leftover peel on the heater, to make the room smell amazing.
In the traditional Chinese medicine (TCM) mandarins are considered as „cold fruits“.
The sour taste causes the body juices to stay inside and helps against too much sweating, therefore keeps the pathogenic moisture in the body, which is very unfavorable especially in case of mucous lungs with cough or cold. From this point of view, it makes little sense to eat citrus fruits in the cold wintertime.
Mandarins also stand for luck & fortune in China. Like a fruit, you can cut up the Chinese word for “fortune” and it turns into “gas”, which closes the circle to heating.
Apart from the fruit, in German we also say "Mandarin" for the Chinese language. Emily Ramharter
the smell of winter" / "运 ⽓气
摄影，铝板装裱， 100 x 66 cm，2021
"the smell of winter" / "运 ⽓气” 是一件旨在处同一主题下不同文化联想的作品，也是一次通过图像联结/拉近两种文化距离的尝试。
在奥地利，我们通常在冬天的圣诞节吃橘子。吃完后，我们会将剩下的果皮放在房间里的暖气上来改善房间的气味。
在中国传统的中医概念中，橘子被认定为“寒性”。酸味使体液滞留在体内，即有助于过多的出汗，也因此将致病的水分锁在体内——这对与肺部粘液相关的咳嗽或感冒是极为不利的。从这个角度来看，在寒冷的冬天吃橘子是没有意义的。
橘子在中国也象征着幸运和运气。像水果一样，中文词汇“运气”被分解后得到“气”又与暖气系统连接成这整个文化连接的循环。
除了水果之外，在德语中，我们也将中文称为“Mandarin” （橘子。 Georg Schuchlenz
Assembled in China
Mixed media, chopsticks, 2021
The artwork deals on the one hand with the supply chain and the exchange of goods between Austria and China and on the other hand with product labeling. A fabric produced in Austria and transported by freight train to China serves as working material for a product finished in China. Furthermore, a video draws attention to disposable chopsticks, every year 45 billion disposable chopsticks made of bamboo or wood are consumed, per year 25 million trees are cut down in China and two million cubic meters of wood from the forests are processed which are then sold worldwide. Georg Schuchlenz
在中国组装
综合材料，筷子，2021
该作品在一个角度上讨论奥地利与中国的商品贸易之间的供应链，而从另一个角度上讨论产品的标签。在奥地利生产的布料，经过货运列车运往中国，并最终成为在中国完成的产品原料——这些都会被正确的标记。此外，一段视频也引发了对一次性筷子的关注。每年，450亿副由竹子或木头制成的筷子销往世界各地，造成了中国每年2500万棵树木被砍伐以及200万立方米的森林木材加过。 Plakat.pdf
©️ Plakat: Marlene Hausegger