johann moser, common cause<br />
johann moser, common cause<br />

johann moser


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.

Johann Moser himself was photographed by a local photographer specializing in portraits and weddings. Here he would wear borrowed clothes and uniforms. He exhibited the series of photographes in the showcase at the communal administrative office: Johann Moser as fireman, as musician of the village band, as a churchgoer in a Sunday dress, and as a member of the Eisschützen club in a jogging outfit. On the one hand, Moser addressed the historic practice of rural photographers: either portraying people in front of stage sets or wearing clothes from a theatre's costume stock. At the same time, he alluded to the still rampant neurosis of masking when visitors from the city try to ingratiate their hosts by assimilating their emblems. The fact that the artist knows the settings from which he took the costumes from his own childhood, staging himself both as an outsider and as a local, and that he placed travesty as a spot where you would expect advertisment brochures and tourist information showed how quickly identities and cultural affiliations can become confused when a certain representation is imposed from above.