Eva Raschpichler
06 Dec 2013 - 16 Feb 2014
EVA RASCHPICHLER
Live Kiss In Long Beach
6 December 2013 – 16 February 2014
Kunstverein Nürnberg – Albrecht Dürer Gesellschaft is happy to present the first major institutional solo exhibition of Eva Raschpichler (b. 1980 in Höchstadt, Germany; lives in Nuremberg).
Titled Live Kiss in Long Beach, the show tells a story, though one without explicit narrative and continuity. It deals with the passage of life and the capturing of its multiplicity: its perplexing and surprising visual impressions; its intimate and longing moments. Raschpichler, who also works with drawing and photography, here mainly presents videos produced over a range of time, whereas most of the pieces are new. The specific date of their creation, however, is not critical, as for Raschpichler the works can be combined into new and different configurations. Whether abstract or figurative, minimally edited documents or digitally manipulated compositions, each video can be understood as a facet of a whole whose form is continuously evolving and developing.
In her work, Eva Raschpichler captures small events, visual phenomena or simply the passing of time. The motifs of her stagings stem from observations of her immediate environment or are manifestations of transformed internalized image sequences. Unlike photography and drawing, the medium of video allows Raschpichler to place things into motion and to reveal transformations that arise within their movement, while in reference to still images, her video camera remains steadily focused on the selected item or specific action. Raw video material is cut via film editing software into short condensed videos, and digital editing techniques allowing for scrolling or slow motion are utilized to animate objects, textures, materials or people. For example, in the video Tänzer mit Country (Dancer with Country) (2012-13), a couple printed as an ornament onto a drinking glass suddenly starts to dance by the use of slow motion, supported by a musical soundtrack. In Scrolling (2012-13), which shows close-ups of gift-wrapping paper, one is unexpectedly immersed into an organic world that resembles snakeskin or the circulation of blood within the human body.
In other videos, the interventions and artistic transformations are reduced to a minimum. Raschpichler edits and combines selected clips and slows the normal speed of filmic sequences down. From these maneuvers arise works with an utter immediacy that seem to represent life with all its unexpected and strange coincidences. Mike (2013) depicts a scene captured on a beach. What appears on screen is almost a direct recording of what actually occurred, but to make the video function as a concentrated image, the artist has removed unnecessary noise and strictly focuses on one extracted gesture.
Seite 1/2 Alongside the playful moments and destabilizing processes that unfold in her works, Raschpichler’s digital images have a haptic, analog aesthetic, lending the footage an ephemeral quality while creating a sensual experience — often even gaining something threatening or enigmatically unsettling by virtue of their pixelated, out-of focus image quality and in their nuanced selection and editing. Raschpichler consciously mines the possibilities that digital editing and manipulation offer, disrupting the smooth surfaces and perfect illusoriness promised by HD technology. Experiencing her work, the artist thus carries us back into life, back into being.
Live Kiss In Long Beach
6 December 2013 – 16 February 2014
Kunstverein Nürnberg – Albrecht Dürer Gesellschaft is happy to present the first major institutional solo exhibition of Eva Raschpichler (b. 1980 in Höchstadt, Germany; lives in Nuremberg).
Titled Live Kiss in Long Beach, the show tells a story, though one without explicit narrative and continuity. It deals with the passage of life and the capturing of its multiplicity: its perplexing and surprising visual impressions; its intimate and longing moments. Raschpichler, who also works with drawing and photography, here mainly presents videos produced over a range of time, whereas most of the pieces are new. The specific date of their creation, however, is not critical, as for Raschpichler the works can be combined into new and different configurations. Whether abstract or figurative, minimally edited documents or digitally manipulated compositions, each video can be understood as a facet of a whole whose form is continuously evolving and developing.
In her work, Eva Raschpichler captures small events, visual phenomena or simply the passing of time. The motifs of her stagings stem from observations of her immediate environment or are manifestations of transformed internalized image sequences. Unlike photography and drawing, the medium of video allows Raschpichler to place things into motion and to reveal transformations that arise within their movement, while in reference to still images, her video camera remains steadily focused on the selected item or specific action. Raw video material is cut via film editing software into short condensed videos, and digital editing techniques allowing for scrolling or slow motion are utilized to animate objects, textures, materials or people. For example, in the video Tänzer mit Country (Dancer with Country) (2012-13), a couple printed as an ornament onto a drinking glass suddenly starts to dance by the use of slow motion, supported by a musical soundtrack. In Scrolling (2012-13), which shows close-ups of gift-wrapping paper, one is unexpectedly immersed into an organic world that resembles snakeskin or the circulation of blood within the human body.
In other videos, the interventions and artistic transformations are reduced to a minimum. Raschpichler edits and combines selected clips and slows the normal speed of filmic sequences down. From these maneuvers arise works with an utter immediacy that seem to represent life with all its unexpected and strange coincidences. Mike (2013) depicts a scene captured on a beach. What appears on screen is almost a direct recording of what actually occurred, but to make the video function as a concentrated image, the artist has removed unnecessary noise and strictly focuses on one extracted gesture.
Seite 1/2 Alongside the playful moments and destabilizing processes that unfold in her works, Raschpichler’s digital images have a haptic, analog aesthetic, lending the footage an ephemeral quality while creating a sensual experience — often even gaining something threatening or enigmatically unsettling by virtue of their pixelated, out-of focus image quality and in their nuanced selection and editing. Raschpichler consciously mines the possibilities that digital editing and manipulation offer, disrupting the smooth surfaces and perfect illusoriness promised by HD technology. Experiencing her work, the artist thus carries us back into life, back into being.