Goodbye Wittgenstein Teil 2

Di, 1. Novem­ber – Fr, 9. Dezem­ber 2016 /// 
Linz ///

Bei GOODBYE WITTGENSTEIN han­delt es sich um ein inter­na­tio­na­les Aus­tausch­pro­gramm zwi­schen Künstler*innen und Wissenschaftler*innen von qujOchÖ (Linz) und A3 Pro­ject Space (Bir­ming­ham), das in Koope­ra­ti­on mit BOM Bir­ming­ham Open Media und dem Ate­lier­haus Salz­amt Linz umge­setzt wird.

GOODBYE WITTGENSTEIN nimmt eine roman­ti­sche Lie­bes­be­zie­hung des öster­rei­chisch-bri­ti­schen Phi­lo­so­phen Lud­wig Witt­gen­stein (1889 – 1951) mit sei­nem jun­gen Freund David Hume Pin­sent (1891 – 1918) und die 1913 größ­ten­teils in Bir­ming­ham ent­stan­de­nen „Notes on Logic“, Vor­läu­fer des welt­be­rühm­ten „Trac­ta­tus Logi­co Phi­lo­so­phi­cus“, zum Aus­gangs­punkt für eine Serie von Arbei­ten im öffent­li­chen Raum in Bir­ming­ham und Linz.

Im Rah­men eines Aus­tausch­pro­gramms zwi­schen Künstler*innen und Wissenschaftler*innen aus bei­den Städ­ten ver­we­ben sich hier rea­le und fik­ti­ve Geschich­ten, um Witt­gen­stein zu neu­em Leben zu erwe­cken. Nach­dem sich qujOchÖ im Som­mer 2016 dazu nach Bir­ming­ham bege­ben hat, um an ver­schie­de­nen Plät­zen, die mit dem Leben Witt­gen­steins und Pins­ents in Ver­bin­dung ste­hen, zu inter­ve­nie­ren, kommt im Novem­ber eine vier­köp­fi­ge Grup­pe von Künstler*innen rund um A3 Pro­ject Space nach Linz, wo Witt­gen­stein zwi­schen 1903 und 1906 die tech­nisch ori­en­tier­te „K.u.k. Real­schu­le“ besucht hat. Hier wer­den sich die vier eng­li­schen Künstler*innen und Wissenschaftler*innen, Emi­ly War­ner, Tre­vor Pitt, Pete Ashton und Mike Johns­ton, meh­re­re Wochen lang auf die Spu­ren des Phi­lo­so­phen heften.

Der Auf­ent­halt beinhal­tet eine öffent­li­che Dis­kus­si­on am 4. Novem­ber im quitch und eine Prä­sen­ta­ti­on der in Linz umge­setz­ten Arbei­ten im Rah­men einer Aus­stel­lung im Ate­lier­haus Salz­amt, die von 24. Novem­ber bis 9. Dezem­ber 2016 zu sehen ist.

Dis­co­bo­bu­la­te­b­ang­bang: Good­bye Wittgenstein
Frei­tag, 4. Novem­ber 2016, 19:00
quitch, Unte­re Donau­län­de 10

Am Frei­tag, den 4. Novem­ber 2016 gibt es ab 19 Uhr die Mög­lich­keit, im quitch mehr über die Künstler*innen, ihre Arbeit und ihre Her­an­ge­hens­wei­se an GOODBYE WITTGENSTEIN zu erfah­ren, gefolgt von einem alter­nie­ren­den DJ-Set unter dem Titel „Dis­co­bo­bu­la­te­b­ang­bang“.

Kris­tal­lin #38: Good­bye Wittgenstein
Don­ners­tag, 24. Novem­ber – Frei­tag, 9. Dezem­ber 2016
Ate­lier­haus Salz­amt, Obe­re Donau­län­de 15
Eröff­nung: Mitt­woch, 23. Novem­ber, 19:00

Die in Linz umge­setz­ten Arbei­ten der Künstler*innen wer­den im Zuge der 38. Aus­ga­be der Kris­tal­lin-Rei­he im Ate­lier­haus Salz­amt zu sehen sein. Eröff­net wird die Aus­stel­lung am Mitt­woch, den 23. Novem­ber 2016 um 19 Uhr. Sie läuft bis Frei­tag, 9. Dezem­ber 2016.


Unter­stützt von Aus­tri­an Cul­tu­ral Forum Lon­don, BKA Kunst, Land Ober­ös­ter­reich und Stadt Linz.

(Fotos: Pete Ashton)


Trevor Pitt

Tre­vor Pitt: „David and Ludwig“

Artist state­ment: „I will use my time at Salz­amt to deve­lop the form and struc­tu­re for a 21st Cen­tu­ry Queer ℗ope­ra; sket­ching out the libret­to (based on Pinsent’s dia­ries), com­po­sing music using Logic soft­ware and crea­ting maquet­tes for sta­ging, mise-en-sce­ne. […] One of the out­co­mes of the resi­den­cy will a live per­for­mance of extracts from the ope­ra ‚David and Ludwig‘.“

Tre­vor Pitt is an artist and cura­tor based in Bir­ming­ham who has been devi­sing pro­jects in gal­le­ries and the public sphe­re for 15 years. His work emer­ges from the social and cul­tu­ral con­text wit­hin which they are pro­du­ced and he adopts a spec­trum of col­la­bo­ra­ti­ve stra­te­gies and methods of enqui­ry. Alt­hough his prac­ti­ce is fun­da­ment­al­ly that of an artist, he ope­ra­tes as a cura­tor, com­mis­sio­ner, rese­ar­cher and faci­li­ta­tor depen­dent on the natu­re of the „role“ he adopts wit­hin the dyna­mic of a pro­ject. In 2007 he set up POD Pro­jects as a plat­form and a stra­te­gy for col­la­bo­ra­ti­ve ven­tures with artists, orga­niz­a­ti­ons and the public. In 2012 he set up A3 Pro­ject Space in Bir­ming­ham, UK as artist stu­di­os and a gal­le­ry that pro­vi­des con­tem­pora­ry artists with the oppor­tu­ni­ty to deve­lop new work and new rela­ti­ons­hips with their audiences.


Pete Ashton: „Witt­gen­stein wan­delt weh­mü­tig wid­ri­ger Win­de wegen Wienwärts“

Artist state­ment: „For Good­bye Witt­gen­stein I plan to use the schoo­ly­ard taunt ‚Witt­gen­stein strolls wist­ful­ly Vien­na-wards due to adver­se winds‘ as a tem­pla­te to explo­re Linz from the per­spec­ti­ve of the young phi­lo­so­pher. I plan to under­ta­ke regu­lar walks from the Real­schu­le in the direc­tion of Vien­na both alo­ne and accom­pa­nied by others. The­se walks will con­sti­tu­te part of the work. Pho­to­gra­phic and other data cap­tu­red on the­se walks will then go towards a pie­ce of visu­al art com­po­sed using algo­rith­mic pro­ces­ses trai­ned in part Wittgenstein’s work.“

Pete Ashton is an artist, most­ly working with came­ras and com­pu­ters, based in Bir­ming­ham, Eng­land. Most of his work is ancho­red by his fel­low­ship at Bir­ming­ham Open Media whe­re he has been based sin­ce it ope­ned in Novem­ber 2014. This work is cur­r­ent­ly being deve­lo­ped on Git­hub and will start taking shape through 2017. During 2016 his fel­low­ship work was most­ly a sab­ba­ti­cal based around Spe­cu­la­ti­ve Came­ras, rethin­king the came­ra as an artis­tic tool. His latest works inclu­de „20/20 Visi­ons“ (for Know­le West Media Cen­tra), „Ikon Traces Wal­king Tour“ (for Ikon gal­le­ry and Still Wal­king fes­ti­val), Sit­ting In Sta­gram (2015), Cross City Walks at the Flat­pack Film Fes­ti­val (2015) and Live Soni­fi­ca­ti­on of Pho­to­gra­phy (2014).

Mike Johnston at Peace Gardens

Mike Johns­ton: „The Linz Chapter“

Artist state­ment: „The Linz Chap­ter will both be a stan­da­lo­ne pie­ce and a part of my ongo­ing writ­ten work inspi­red by Wittgenstein’s visits to Bir­ming­ham. The­se are scar­ce­ly men­tio­ned in the exis­ting nar­ra­ti­ves of his life, but after much rese­arch an inte­res­ting sto­ry has begun to emer­ge. […] The Linz Chap­ter is pos­si­ble becau­se it too is a post-indus­tri­al second city like Bir­ming­ham. Con­se­quent­ly the trans­fer of the­mes will pro­vi­de an inte­res­ting com­pa­ri­son. And as we know, Wittgenstein’s edu­ca­ti­on was in Linz which makes his ghost avail­ab­le for com­ment. Two the­mes in par­ti­cu­lar have emer­ged from rese­arch in Bir­ming­ham – not­hing­ness and para­di­se. Deve­lo­p­ment of the­se in Linz will invol­ve an explo­ra­ti­on to find and docu­ment their local signi­fiers. […] The­re will be a rea­ding of The Linz Chap­ter during the final week of residency.“

Mike Johns­ton was born in Bel­fast, Nort­hern Ire­land and lives in Bir­ming­ham, Eng­land, sin­ce 1990. He gra­dua­ted from Uni­ver­si­ty of Wol­ver­hamp­ton in 1993 with a degree in Phi­lo­so­phy and Poli­tics. In 1999 he for­med the elec­tro­nic music group Plo­ne and released for „Begin­ner Pia­no“ on Warp records. Fur­ther musi­cal adven­tures inclu­ded Mike in Mono, ZX Spec­trum Orches­tra and Modi­fied Toy Orches­tra, with relea­ses on Half-Eaten, Sta­tic Cara­van, and Warm Cir­cuit. His art prac­ti­ce sprang from invol­ve­ment in the ZX Spec­trum Orches­tra: crea­ting ani­ma­ti­ons using machi­ne code, archaic prin­ted works and graph paper illus­tra­ti­ons. Johns­ton exhi­bi­ted at Citric, Bre­scia and LABo­ral, Gijon. Sin­ce 2008 he has been wri­ting about the histo­ry of Bir­ming­ham in the first half of the twen­tieth cen­tu­ry, the phi­lo­so­phy of Lud­wig Witt­gen­stein and the unex­pec­ted con­nec­tions bet­ween the two.

Emily Warner

Emi­ly War­ner: „Num­ber 4, Austria“

Artist state­ment: „Retra­cing the rou­te covering Wittgenstein’s time in Bir­ming­ham, I am com­pi­ling an inven­to­ry of rese­arch that will act as a score for per­for­ma­ti­ve respon­se upon arri­val in Linz. This docu­men­ta­ti­on com­pri­ses of visu­al records, scrip­ted text and move­ment based respon­ses that cor­re­la­te direct­ly with the sites signi­fi­cant to the Good­bye Witt­gen­stein nar­ra­ti­ve. Focu­sing upon Wittgenstein’s obses­si­on with the pro­duc­tion of an ide­al space for genera­ting phi­lo­so­phi­cal mat­ter – the remo­te hut he built by hand. I will be con­struc­ting and inha­bi­t­ing both real and ima­gi­ned spaces during my time in Linz. Brin­ging tog­e­ther mate­ri­al gar­ne­red from sites in Bir­ming­ham and Linz, I will fab­ri­ca­te space as a method for impo­sing con­di­ti­ons of work and productivity.“

Emi­ly War­ner is an artist and rese­ar­cher working in a mul­ti-disci­pli­na­ry way to explo­re art as an on-going pro­cess, some­thing that tem­pora­ri­ly exists as a live expe­ri­ence, an action-based encoun­ter or a con­ver­sa­tio­nal situa­ti­on. Acti­vat­ing rela­ti­ons­hips with peop­le and place, she is inte­res­ted in the con­di­ti­on and con­struc­tion of rela­ti­ons­hips in both phy­si­cal and digi­tal contexts.