moira zoitl, common cause
moira zoitl, common cause
moira zoitl, common cause
 

moira zoitl


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common cause



Reinsberg is a community that operates at various speeds. On a quick drive through the town you feel the quaint atmosphere of a summer resort in the postwar period. It is idyllically embedded in a hilly landscape replete wuiuth many green meadows and mixes woods, sheep and cattle and indvidual farmhouses in sunny locations. Yet on a more extensive foray you experience a different Reinsberg, one that is trying to overcome ist isolation by carrying out intelligent village renovation projects, marketing ist own biological products and organizing unusual cultural projects. Almos every year there are artist’s symposia, sculpture installations, exhibitions and international music and literature festivals. Towering over all this ist he protective shield – the ruins of the medieval fortress which was has been renovated over the course of many years by the people of Reinsberg themselves and reactivated as a community cultural centre. As the final stage of this process the unconventional arena was opened. It floats over a circular tent of roof support by what used to be a car crane. Johannes zieser’s exrroverted architecture did not find understanding everywhere. Moreover, the active work of the organizers of the cultural initiatives also did not encounter the same enthusiasm with everyone. However, the supraregional attention did fill some skeptics with pride vis-à-vis the new landmark.
Hubert Lobnig und Iris Andraschek situated their project "Gemeinsam Sache" (Common Cause) between economic and cultural offensives and traditional placidity. Together with the artists they spent several weekends in the village to observe the people, the public life and the local institutions. They researched the everyday social interaction as well as the topography of the self-presentation in tourism: Reinsberg on the Eisenstraße, Reinsberg in the Mostviertel region, Reinsberg of the biofarmers, Reinsberg as a cultural village.

The two-part video piece produced by Moira Zoitl on-site was a work based on two important coordinates of rural assilmilation. The film, titled "Das optimale Gewinnminimum" (The Optimum Minimum Profits), traced the visible and hidden ramifications of power at the Raiffeisen cooperative. Interviews, inserts and personal statements revolved almost spirally around the practices of power and even the Reinsberg branch. The latter was both an ideal point of departure and of closure, once again embodying its ambivalent ideology on smallest quarters. Even though the film seemed to be moving in the genre of a TV report and made used of familiar dramaturgical elements, it was the alientations that revealed the subjective digressions, the rules that had been broken, the gestures and insignia of power but also of powerlessness.
In a second video the artist stages herself as am athletic tourist, cycling over the mountains. She added footage of a professional racing event in these shots. Zoitl thus drew a longe curve from images of economic overspending, from the dogma of productivity to that experience, while als addressing those alliances that coopt rural space so subtly. Both dogmas were able to proloferate so undisturbed since they disguised themselves as rustic and close to nature. Yet in actual fact they had completely detached themselves from the landscape that they accupied.
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