Michael Kienzer - inter/medium (de) - a podcast by CastYourArt.com

Michael Kienzer - "inter/medium"

A grid-like strut frame, constructed out of several vertical and horizontal aluminum rods, stands in the space, and is held both together and upright by means of a chaotic network of wide black rubber bands with no visible beginning or end. The sculpture conveys a precarious stability, based on workings of gravity, traction, pressure, and friction. Bringing attention to the forces that constitute a work is a central concern of the artist, Michael Kienzer. Through the methods of interlacing, interweaving, and extensive tension, he creates links, references, connections between things and materials, and thereby reveals the fact that it is not the elements themselves, but the mutual relations between the elements—what is formed in between—that represents the character of a work.

Kienzer completed his degree at the Kunstgewerbeschule in Graz and the University of Applied Arts in Vienna, where he studied sculpture under Bruno Gironcoli. For his work—which has received numerous awards, among them the Monsignore Otto Mauer Award—he uses various media; for objects, installations, and designs, he takes different approaches to themes such as space, time, surface, compression, materiality, image, and the original. His sculptural interventions are mostly site-specific, working within the means of a given space. For example, in a lapidary fashion, two aluminum plates are set up straight across a space, supported only by themselves and the walls, drawing attention to the physical forces at work, therby shifting them, and changing the viewer’s perspective of the structures, which at first appear unalterable.

Some of Kienzer’s works—especially those which are located in public and semi-public spaces—invite the viewer to take part in them. As a communicative work of art, the artist describes a space constructed out of thirty doors, which was on display as a major feature of MUMOK sculpture series, “Out Site”, in the following way: one can arrive here into a liminal space, a gap. For his current installation, “hanging around“, in the Bruno Kreisky Park in Vienna, the artist stretched a few hammocks between trees, which emphasize the spaces in between them and makes them usable. The stretching and interweaving also shape the principles of construction and representation that are present here.
This theme finds its strongest expression in the sculptures in which wires, pipes, rope, and rubber bands are intertwined into inextricable balls, forming different units of materiality. The coming together of the various materials directs one’s attention to their characteristics--smooth, raw, flexible, rigid—and how these characteristics work on one another. The materials themselves are an important topic for Kienzer. Most of the time, he uses semi-manufactured materials such as wire, glass and aluminum plates, bars, rope, rubber bands, as well as everyday household items such as tape, tin cans, glass bottles, and erasers—but these are not used in the readymade sense. The materials and objects seem to be or are, in fact, new, untreated, carry no traces, have no history, and represent a pure presence in their respective functions in the works of art.

Their composition raises the question concerning their conditions and balances of power: when rolls of tapes are piled up one on top of another forming a post that seems to be supporting the ceiling, or telephone boxes are placed one on top of the other, or a pile of paint cans replace one beam of an aluminium installation, or a helium balloon is suspended in the air with tape, an order of the things and the forces involved become a subject of examination. The view is one of pragmatic irony, the work of art without the narrative. Dubravka Ugresic asks a friend “What is art?“ in her novel, “The Museum of Unconditional Surrender “. “An activity which has something to do with overcoming the force of gravity—but not with flying. “ (sh/jn)

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