Margret Wibmer, performance for no audience, 1998, duratrans, 80 x 100 cm, Ed. 3 + 1 AP

 

The disorientations that permiate Margret Wibmer’s work can be perceived as a conscious extension of the process of perception through which the familiar body-space experience is invalidated. The artist initially took her own body as her starting point. Performance for no audience (1998) can be seen as a ‘prototype’ of those works, in which Margret Wibmer uses her body as a ‘material’, a photographic series in which she wears a yellow rubber suit. The body becomes a sculptuure and the suit becomes a second skin, a medial surface, an interface. Acoording to Reinhard Braun’s analysis in 2000, Margret Wibmer’s interest revolved around Schnittstllen (interfaces), ‘around interfaces between bodies, their surfaces and their interaction with the space, through glances and sound, and not least through cultural systems of symbols.

[Ludwig Seyfarth, ‘Relax your hips – Margret Wibmer and irritants between bodies, things and spaces’ in Margret Wibmer – ambituity, bodies objects and spaces published by Kerber Verlag; p16]

 

 

Essay Reinhard Braun: Zum Verhältnis von Blick, Bild-Schirmen und Kunst

Essay Reinhard Braun: Dutch translation

 

 

 

 

 

OFF THE WALL, 2000, Museum De Beyerd in Breda (NL) part of the exhition ‘Die Desorientierung des Blickes’; VR opera

 

an interactive Virtual Reality Opera by Margret Wibmer (visuals) and Günther Zechberger (sound)

 

technical team:

Rens Veltman – construction of robot for QuickTime VR recording, Schwaz, Austria
Tommi Bergmann – image and sound control, Schwaz, Austria
Heiko Lochas – motion tracking/mathematical operations, Weimar, Germany
Daniel Fischer – motion tracking/translations into computer language, Weimar,Germany