Galerie Hubert Winter curated by Suzy M. Halajian & Marlies Wirth
„IMPEDED TIME“

Marlies Wirth studied Art History in Vienna and is since 2006 a curator at MAK – Austrian Museum of Applied Arts / Contemporary Art. She curates the public program MAK NITE Lab as applied experimentation zone for contemporary positions of art, (fashion-)design, performance, architecture and media-art, as well as the exhibition series APPLIED ARTS. NOW featuring solo shows of alumni of the University of Applied Arts, Vienna from the fields of design and architecture. Further projects include project coordination and curatorial assistance for exhibitions and publications of the MAK Center for Art and Architecture, Los Angeles.
Suzy M. Halajian is an independent curator who holds a MA from the Center for Curatorial Studies at Bard College, New York. From 2007-2010, she co-found and directed Eighteen Thirty Collaborations, an experimental performance arts space in Los Angeles. In 2008, she developed Concept Store, a collaborative sculptural and fashion project which she further explored during a residency at SOMA in Mexico City. Other work includes her involvement as Program Coordinator of the Urban Future Initiative Fellowship Program (2008-2009) with the MAK Center for Art and Architecture, Los Angeles. Her most recent projects in 2011 include These are not obligations but I want to (a response in two parts) with artists Simon Fujiwara and Dawn Kasper and Matters of Fact, a co-curated exhibition at the Hessel Museum of Art, Bard College.

In working through the relationship of art and life in response to Weiner's practice, his own reference to Wittgenstein allows us to make the correlation manifest: “words have meaning only in the stream of life.” The impossibility of separating art and life is inscribed in the work of Lawrence Weiner. We may encounter his sculptures unexpectedly, outside of museums and galleries, in the places we pass through and enter, where art and life intertwine. With his statements, always challenging yet never authorial, Weiner continues to propose questions for us to interpret through our own experience and perception of work, culture, and the world at large. He offers us options but never just opinions. Meaning remains fluid; it neither stays static nor one-dimensional, yet reveals new ways to perceive and confront material reality and the current social and political landscape at any given time. Weiner lives his art and simultaneously allows the viewer to bring his work to life. The language is the material; reality is the material. As such, the works lend themselves to an ambiguity that rejects determinativeness and allows a subjective approach to their meanings and the materials referred to, as well as the spaces they are found in. Through the temporality of language, in its perpetual shifts and manifestations, time too is re-contextualized. Time allows multiple points of access and different lenses for those who are looking and experiencing. Time unfolds and reinvents Weiner's language, and through its poetic currency makes us aware of the transitional aspect of his concept, and that of life itself. SOME. THING. DOES NOT LOSE VALUE JUST BECAUSE THERE SEEMS TO BE LOT OF IT. N'EST-CE-PAS? VALUE & PRICE ARE NOT RELATED. XXXXXXXLAWRENCE