rudolf weidenauer, common cause
rudolf weidenauer, common cause
rudolf weidenauer, common cause
 

rudolf weidenauer


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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.

Rudolf Weidenauer's performance can be described against the backdrop of the cultural imports that had become standard independent of the local expectations and needs. For one evening he arranged an evening for the local village theater, engaging an outside magician. On a garishly lit stage which hardly hid the tricks and optical illusions for even the non-initiated, the semi-professional magician mechanically completed his program without, again and again including the public. The motive of the encounter between locals and outsiders recursed here again as theatric act or even as polemic response to the status of the artist. He was often expected to do what Weidenauer has delegated to a collegue from a different field: to irritate, to entertain and amuse the audience. In any case Weidenauer brought together the idea of a touring theater, which was precisely what the project also was notwithstanding all the intended cooperation, as the title suggests: a guest performance.