Renáta Pintérová

During my residency at Q21 I would like to start to develop my upcoming longer time art project which will consist of more parts. I will work on the theoretic/conceptual language of my project and also I will create a storyboard and visual collages connected to it.These will later serve as a basis for 3d visualisations and installation. I would like to work also on some new drawings during my stay. The main keywords of my research will be: catastrophe, post-ecology, monsters, meta-space, liquidity of cats, identity, self-colonisation, nature, hybrids, technology, ritual, spirituality, sports and nonsense.

During my residency I was having a rest and working on different longterm projects which are still in progress. I really enjoyed my stay in Vienna because I have met and could get to know a lot of interesting institutions and artists which helped me a lot in networking. The residency, the atmosphere of the city and cultural events were really nice and inspirational for developing my free time education and projects in a very creative way.

My longterm art project  CARBON—NEUTRAL on which I was working during my residency has three parts which are interconnected projects and will be realised in different mediums. CARBON—NEUTRAL is a conceptual unit called “CARBONOTOPIA” which is a complex of the three projects.
1. The first project called “Fountain” represents a 3D visualisation of the “Future” recreational—regeneration environment with a fountain which is designed for museums or contemporary art institutions. Its a place for having a rest.

3D visualisations of the fountain represent the partly appropriated design of the fountain from the shopping center into which I implemented the part of the wheat field and the wooden surface where tourists can do sign scratches and leave traces as they do on historical monuments. The apocalyptic background of the fountain is a scenery with the abandoned swimming pool architecture from Chernobyl.

2. The second project called “Esté Gosha” represents a design/drawing of the ritual costume for the future performance. Esté means, “you are” or “east—orient”. Gosha “hero, champion”.

The drawing of the costume will be converted into 3D visualisations or into a real costume for performing. The costume also includes different face masks which can be switched for different performances and the “glass cube” object/prop in which the fire burns. The fire in the glass cube refers to the metaphysical paradox of the changing inner identity or different self—archetypes, but it can also refer to the paradox of the exhibiting space “cube” as a ritual place or “meta—cube”. The furry costume is a mixture identity in-between the “aboriginal—eastern” and pop/consumerist or cartoonish aesthetics.

In my research, Esté Gosha represents a trans—cultural/trans—national, post—colonial mystic hybrid, a fluid notion through which I am researching contemporary globalised/colonised Eastern European identity accelerated by consumerism and technology. The costume is a camouflage through which I can create a possible alternative resistance ritual. It's a universal identity, a fluid “brand”. It is a stuck “in-between” but at the same time in constant movement as an “active paralysis”. Self—colonisation by technology and aesthetics which leads into hybrid “aboriginal” wild/burnt out identity. Ritual as a form of practice for slowing down of the body.

3. The third part called Mystic Objects or “Enchanted Objects” is part of the Horror vacui series and represents drawings which will be also transferred into 3D visualisations and then into wooden sculptures/objects.