© eSel.at
© eSel.at
© eSel.at
Nicolas Mahler, Black Pipe, Open On One Side / There Is No Literature That Does Not Seriously Engage With The Real Realms Of Experience Of The Elderly, Except Crossword Puzzles / Phrase Cloud / Pensioners Home, all 2009
A panel of aluminium painted naturalistically to look like a piece of wood on the roof of an old people's home (Treibholz by Siggi Hofer on the LPPH Wallsee) is a cause of irritation. One does not only ask oneself how it came to be there but also to what extent the residents can identify with the artist's associations, or whether the work tends to actually be understood as an act of cynicism. For the cartoonist Nicolas Mahler the latter is the case. In his fictive suggestions for further additions to old people's homes he carries the prejudices and limited view of the younger generation to extremes: conversations that only revolve around what is on TV and the weather, the small pleasure of finishing the Sunday crossword puzzle in the Kronen Zeitung and a life in the shadow of death. These are enforced by the suggestion to situate an old people's home on a roundabout. With this work Nicolas Mahler hits three sensitive points relating to art in public space: Firstly, the question of how to engage with the numerous roundabouts and the enthusiasm to decorate these that they prompt. Secondly, the challenges faced by the care system for the elderly, and thirdly the reduction of public art to an issue of mere decoration.
Nicolas Mahler, Black Pipe, Open On One Side / There Is No Literature That Does Not Seriously Engage With The Real Realms Of Experience Of The Elderly, Except Crossword Puzzles / Phrase Cloud / Pensioners Home, all 2009
A panel of aluminium painted naturalistically to look like a piece of wood on the roof of an old people's home (Treibholz by Siggi Hofer on the LPPH Wallsee) is a cause of irritation. One does not only ask oneself how it came to be there but also to what extent the residents can identify with the artist's associations, or whether the work tends to actually be understood as an act of cynicism. For the cartoonist Nicolas Mahler the latter is the case. In his fictive suggestions for further additions to old people's homes he carries the prejudices and limited view of the younger generation to extremes: conversations that only revolve around what is on TV and the weather, the small pleasure of finishing the Sunday crossword puzzle in the Kronen Zeitung and a life in the shadow of death. These are enforced by the suggestion to situate an old people's home on a roundabout. With this work Nicolas Mahler hits three sensitive points relating to art in public space: Firstly, the question of how to engage with the numerous roundabouts and the enthusiasm to decorate these that they prompt. Secondly, the challenges faced by the care system for the elderly, and thirdly the reduction of public art to an issue of mere decoration.


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