the PDF / 2015

PAT R I C I A R E I N H A R T
p h e n o m e n a o f S y n c h r o n i c i t y a n d Pat i e n c e
i n t u i t i o n v e r s u s m at h e m at i c s
and
the woman in the garden
P ari s
2015
Synchronicity
An acausal connection of a significant coincidence of physical and psychological phenomena *
Synchronicity is an ongoing art and exhibition project by artist Patricia Reinhart dealing with the phenomena of
synchronicity in relation to an artwork’s various medias and presentation. Consisting of several exhibition forms or
happenings and taking place at various intervals, selected works of hers will be installed and shown
in public space and other art spaces.
// It was a late Sunday afternoon in the summer of 2014, when I met Patricia Reinhart for the first time.
Introduced by a mutual friend of ours, we ended up spending a rainy afternoon together on the terrace of Palais
de Tokyo, where a rather general conversation about Paris, art and relationships took place. At the end of the day,
we exchanged smiles and phone numbers with our goodbyes.
The summer came and went. The next time when we saw each other was at a group exhibition entitled
48°28’39”N 2°12’47”E - Les pierres se battent entre elles, in which Patricia was participating with her video work
Die ihr Brot mit Tränen aß (Requiem for an Unendurable Paradise). Yet the context for a screening sounded rather
demanding, as the exhibition took place in direct sunlight in a middle of a forest, with no electricity on hand. Leaving
the chance for the unexpected though, as she usually does in her work, Patricia had discovered an abandoned tent
in the very same spot where the exhibition was bound to be. Screened inside the tent, this work revealed to be a
combination of video material and still photographs. This technique entitled ciné-collage, developed by Patricia herself,
allows the use of photographs as painterly layers, creating thus a singular texture for the work. In the video, a woman
follows a desolate path, from rural to urban purgatory: the scenery changes from the pool to the stormy sea, from
the garden to the burning city of Wien. Profound patterns of symbolism accumulate: antagonistic yet complimentary
symbols of life and transformation - water and fire - are playing important roles in her work. While water in
movement constitutes a symbol for a transitory state between different possibilities, those accomplished and those
still to emerge, the fire stands for death and rebirth, purification and illumination. I still recall that afternoon very well;
it was my first encounter with Patricia’s work, surrounded by a highly contrasting context.
In December, I received a small handwritten envelope by mail, containing an exclusive invitation for Patricia’s
solo show, a performative installation entitled Synchronicity II, (The Black Velvet Room Paris), a follow-up
for the installation and public screening organized at the Canal St. Martin the previous summer. The address was
aptly to be found at Rue de l’Exposition, in a rather posh area of the 7th arrondissement: after being received by a
blond vamp dressed in a fur coat, I was led into a private apartment enveloped entirely in black. A mixed scent of
cigarettes and perfume was lingering in the apartment, while the guests were sipping wine and chattering in low
voices. Reminiscent of a Freudian setup, the space was constructed in an intimate dialogue with her works: I had the
impression as if the whole apartment was actually a stage with a mise-en-scène, and we, the guests, were the actors
of this play. All the works on display were projected and installed in a non-classical way: a screening of her video
Die ihr Brot mit Tränen aß (Requiem for an Unendurable Paradise) was projected from an open window on the wall of
the neighboring building, a super 8 film projection of Ophelia was projected on the back of a painting, a paper with a
handwritten love poem was rotating on a record player … The ensemble created surprising encounters in the
exhibition space: the entity floated into an opaque gradual degradation of surroundings and eventually, allowing me
to forget where I was.
Many things happened over the long winter months: we witnessed each other going through joys and hardships.
During these months, when our friendship got deeper, I also discovered probably Patricia’s most intimate series of
work: her self-portraits. This series started in 2001 when she arrived to Paris for the first time, and has been an
ongoing project ever since: it is a way to record the past, yet actively to reconstruct a new paragraph. In this series, a
form of double-portraits unfolds itself, and an image finds itself captured in another portrait. This self-reflective
approach allows mirroring the subject both as familiar and as subconscious, while a self-narrative takes place within
the framework. Despite the series’ intimacy, the photos nevertheless impose a distance, exactly because of their form:
self-portraiture allows oneself being a tourist in one’s own reality with a hidden gaze, drifting away into
a soft abstract pastness.
At this moment, when writing this text, almost one year has passed since our first encounter: our meeting,
perhaps an arbitrary one, has become a meaningful narrative. It seems like an eligible way to conclude this text in
presenting Patricia’s latest work. A shift towards new techniques and experimentations with her series entitled
Patience, aquarelles on linen dating from 2015, can be observed. They enter in a constructive dialogue with her
previous body of work - yet a clear shift in time and space can be observed. The new direction suggests that the
chapter is about to reach its end, after having leafed through some torn pages. The figure of a woman is arriving
at her destination after the apocalyptic series of events, and a moment of reconciliation reveals itself:
a serene garden is looming out in the horizon, but still with the presence of gentle and soft shadows.
// Text by Sini Rinne-Kanto, 2015
Le cœur a ses raisons que la raison ne connaît pas.
// Blaise Pascal
Intuition versus mathematics.
Installation view SYNCHRONICITY II, The Black Velvet Room, Paris/FR, 2014
Patience I - La tempête / Tourmente, aquarelle on linen, 170 cm x 150 cm, 2015
Patience III - L’ amour, aquarelle on linen, 170 cm x 150 cm, 2015
Patience II - La forêt et le ciel / Irony, aquarelle on linen, 170 cm x 150 cm, 2015
Patience VI - L’ hiver, aquarelle on linen, 170 cm x 150 cm, 2015
PATIENCE
Patience I - La tempête / Tourmente
Patience II - La forêt et le ciel / Irony
Patience III - L’ amour / Liebe und Mitgefühl
Patience IV - Eine neue Zeit / Une nouvelle èpoque
Patience V - Warten auf den Tod / Death
Patience VI - L’ hiver / Die Erkenntnis im Kapitel Schnee
Patience VII - The garden / Wandlung
Patience VIII - Die Frau im Garten / Confiance
Patience IX - Miroirs / Antworten
Patience X - Sinn und Fügung
Patience XI - Au début / Das wahre Selbst
Video installation with tent in the forest, 48°28’39”N 2°12’47”E - Les pierres se battent entre elles,
Auvers-Saint-Georges/FR, 2014 / DIE IHR BROT MIT TRÄNEN ASS (requiem for an unendurable paradise),
ciné collage, single channel video installation, 5.45 min, loop, colour, sound, 2014 / Photo: Allison Somers
Installation view SYNCHRONICITY I, Video installation with a boat in public space, Canal St. Martin, Paris/FR, 2014
DIE IHR BROT MIT TRÄNEN ASS (requiem for an unendurable paradise), ciné collage, single channel video installation,
5.45 min, loop, colour, sound, 2014 / Photo: Nora Magdalena Hauswirth
// Days like pearls,
round and lustrous, threaded on a golden string.
Nights of waking dreams. This and other things,
the music and the moonlight, the silence and the anticipation.
The blood whispering in our ears.
A strange mood developed, almost like a melody,
so soft inside that you just want to cry.
Tried hard to find out what the dream was about. You woke up in the morning
with the dream still present. You are all soft inside.
So many people die. But I really am sad.
I will tip over the edge into something black - something unknown.
Night.
Following a scorching summer’s day of blazing sunlight.
The silence was vast. Reaching all the way to the vault of heaven.
The silence between us.
We were alive those days.
This and next page: DIE IHR BROT MIT TRÄNEN aSS (requiem for an unendurable paradise) , ciné collage, single channel
video installation + LP, 5.45 min, loop, colour, sound, 2014 / Sound: composition in d minor (pour lui), piece for a piano,
Paris/FR, 2013 / composed and arranged by Patricia Reinhart
Kaleidoscope, oil/oil pastel on linen, 170 x 150 cm, 2014
Scratched lillies, oil on linen, 170 x 150 cm, 2014
// A season in hell
a ghostly city by night an echo of themselves like shadows through a mirror the landscape rose slowly before
us a heaven of hell a hell of heaven a glorious death we don‘t need mirrors anymore to talk to ourselves
An end. Impasse.
The ciné collages, 3 screenings parallel, only in black and white, without tone. The dialogue takes place between the
individual scenes. By using different imaging sequences and lengths a new conflict, a new language, a new image
is created.
Ein Nachtstück is a 3 channel video installation, which is created in great detail from still photographs.
Patricia Reinhart uses a technique to make her film loops which she has named ciné-collage. Multiple still photographs of characters and location details are collaged together in painterly layers and given just enough movement
to provide a depth of colour and space. Architectural elements, buildings, gardens and public spaces of Paris are
montaged and arranged together to present a destroyed, post-apocalyptic world. By using the bilateral symmetry of a
building and its surroundings (manipulated elements of vegetation, water, fire and air), or seen in the tradition of the
Rorschach test, perspectives change. The world reflects itself, and seems to break and collapse. Lautréamont’s “Les
Chants de Maldoror “ and Max Ernst’s collages “Une semaine de Bonté” influenced Patricia Reinhart during the
process of developing this work. Installation view Ein Nachtstück, one part of the 3 channel video installation, screening on stationary, Open Studios #8117
Cité Internationale des Arts, Paris/FR, 2014
Next page: Stills Ein Nachtstück, 2011/2012
Installation view Ein Nachtstück, 3 channel video installation, Predicting Memories, Vienna Art Week, curated by
Robert Punkenhofer and Ursula Maria Probst, K.K. Telegrafenamt, Vienna/AT, 2012
The happy painting or the penis in my head, oil on linen, 170 x 150 cm, 2014
Heavy storms at sea, oil/charcoal/oil pastel on linen, 170 x 150 cm, 2014
// 13 poèmes visibles is comprised of 12 Super - 8 film projections titled “avant de mourir” juxtaposed with a
single projection “Ophelia.”
Reinhart uses a technique to produce these film loops which she has named ciné-collage. Multiple still photographs
of characters and location details are collaged together in painterly layers and given just enough movement to
provide a living depth of color and space. Patricia Reinhart’s work is a ‘one-woman production.’ She is the model for
every character portrayed and all of the images are sourced and arranged by her in a very private studio practice.
This process offers a singular viewpoint using a character which is as once a symbol, avatar, and metaphor. The
theme-setting image in this installation, “Ophelia”, functions both as a reference to the artwork by John Everett Millais
and to Shakespeare’s character herself in Hamlet. Ophelia’s character represents women’s sexuality and passions
as a madness leading to tragedy and death, in her case by drowning that is assumed to be suicide. These works
have a direct relationship to melodrama as a form of performance technique, especially in certain operas. Reinhart’s
melodramas, rather than having the stock characters of hero, heroine, villain, and so on, consist of a single female
character. The overall effect is a narrative of personal growth in the face of an apocalyptic existential state of being.
// Text by Lisa Ruyter, 2011
This and next double page: Installation view avant de mourir, 13 channel installation with 13 Super 8 - film loops & projectors
Gallery Lisa Ruyter, Vienna/AT, 2011
// Subtext:
1. Prologue. 3 settings. Face in shadow.
2. A woman. The desire to be someone special.
3. Wideness. Statue. Soul.
4. Jeanne d’ Arc. The salvation and the fulfillment by death.
5. Confrontation. The other one and the self
6. A room of one’s own. Development and perspective.
7. Violence part one. Victim role. “We are always responsible for our actions. We are free.”
8. Acceleration of time. Transfer of subjectivity.
9. Question of life.
10. Question of happiness. (The realization of being nobody special and the subjective view on the self)
11. Felicity is no fun. Violence part two. Elimination of the self. The inside of the self develops through death.
(The soul can only show up beyond externalism and internalism, the self has been removed. It leads to death)
12. The oval portrait. Silence. Destiny. To abdicate the self. You have to pass by death in silence.
13. Reality. Dying scene. Ophelia. The romance of death. “If you take off externalism, you reach internalism,
and if you take off internalism, you discover the soul.”
Stills 13 poémes visibles, Super 8 - film loops, 13 channel film installation, 2010/11
Next double page: Video installation, Cala Llamp, Mallorca/ES, 2012
Untitled, oil on linen, 170 x 150 cm, 2014
Exhibition view mondes parallèles, Eglise St. Merry, Paris/FR, 2013
THE SELF PORTRAITS
Portraits to questions of femininity
As a woman, after the storm, I lay down my arms. I don’t want to fight anymore or to act like a man. I would love to go
to the garden, as a woman.
This and next two pages: Self Portrait Photomaton Paris
C-Print, 40 cm x 30 cm, 5+1, Paris/FR, 2013/2014
born in Vienna/Austria
lives and works in Paris/FR and Vienna/AT
EDUCATION:
2000 Master of Fine Arts (with honors), Academy of Fine Arts, Vienna, AT
1995 – 2000 study of painting, Academy of Fine Arts, Vienna, AT
1999 – 2001 study of acting, Vienna, AT
SOLO SHOWS:
2015 les feux de l’ amour, Gallery Günter Salzmann, Innsbruck, AT
2014 SYNCHRONICITY part 2, The Black Velvet Room, Paris, FR
2011 AVANT DE MOURIR, Gallery Lisa Ruyter, Vienna, AT
2008 NOCTURNE, Künstlerhaus Passagegalerie, Vienna, AT
2008 THE SILENCE WAS VAST, Gallery Dana Charkasi, Vienna, AT
2007 LYDA´S DEATH, Oficina#1, Caracas, Venezuela, VE
2006 THROUGH WOODS AND MEADOWS, Gallery Dana Charkasi, Vienna, AT
2005 HEROES & LOSER, Das Fotostudio, Vienna, AT
2005 TRUST ME, (marks blond project) Sammlung Häuser und Wir, Zürich, CH
2004 I LEFT PARIS BY A ONE-WAY STREET, Brick-5, Vienna, AT
2004 FLIRT ME, Marks blond project, Bern, CH
2004 MY NEONLINE PAINTINGS, Atelier Quelle, Vienna, AT
2003 *) , Daponte, Vienna, AT
2002 TRÄUME ICH NOCH IMMER?, Artothek-Galerie Alte Schmiede, Vienna, AT
2001 OUVERT, Paris, FR
2000 untitled, project room Muntean/Rosenblum, Vienna, AT
SELECTED GROUP SHOWS:
2014 48°28’39”N 2°12’47”E - Les pierres se battent entre elles, Auvers-Saint-Georges, FR
2014 UNDER THE BOW, B-Side, Münster, DE
2014 JUST ADD WATER, CCA Kunsthalle, Mallorca, ES
2014 SCALE SMALL SCALE, Speicher II, Münster, DE
2014 ICI & LÀ, Cité Internationale des Arts, Paris, FR
2013 MONDES PARALLÈLES, Eglise St. Merry, Paris, FR
2012 PREDICTING MEMORIES, Vienna Art Week, K. K. Telegrafenamt, Vienna, AT
2012 HUMAN FRAMES, Werkstatt der Kulturen, Berlin, DE
2011 HUMAN FRAMES, Kunst im Tunnel, Düsseldorf, DE
2010 WOMEN, kerstin engholm gallery, Vienna, AT
2010 untitled, projecteur. M, Paris, FR
2008 AUSTRIAconTEMPORARY, Essl Museum, Vienna, AT
2008 BOLOGNA CHICKS, Marks blond, Bern, CH
2008 ANTON FAISTAUER PRICE, Galerie im Traklhaus, Salzburg, AT
2007 VIENNAFAIR, presented by Gallery Dana Charkasi, Vienna, AT
2006 PREVIEW BERLIN, presented by Gallery Dana Charkasi, Berlin, DE
2006 EXPERIMENTAL JET-LAG, Paris, FR
2006 3 generations - 3 regions, Burg Schlaining, Schlaining, AT
2005 MARKS BLOND HOLYDAYS, International Biennale of contemporary art, Prague, CZ
2005 ART 36 BASEL, presented by Gallery Scalo, Basel, CH
2005 BEFORE SUMMER, Atelier Quelle, Vienna, AT
2005 FLEXIBITION #4. SEHNSUCHT. Gallery Hatsov, Vienna, AT
2004 CART-MARKS BLOND GOES OUT, off space rendezvous fair Zürich, CH
2004 BOOK+PORTFOLIO, Betonsalon, Paris, FR
2003 PFANN OHMANN PRICE, Künstlerhaus, Vienna, AT
2000 PATRICIA WIRD ERWACHSEN, Academy of Fine Arts, Vienna, AT
2000 ROTKÄPPCHEN HAT GEBURTSTAG, Club U, Vienna, AT
1998 untitled, Kupferstichkabinett, Vienna, AT
1998 SPICES & DIVERSITIES & ACADEMIES, curator: Harald Szeemann, Academy of Fine Arts, Vienna, AT
SELECTED SCREENINGS:
2014 LES RENCONTRES INTERNATIONALES, Haus der Kulturen der Welt, Berlin, DE
2014 SYNCHRONICITY part1, Installation with a boat in public space, Canal St. Martin, Paris, FR
2014 LES RENCONTRES INTERNATIONALES, Gaité Lyrique and Palais de Tokyo, Paris, FR
2013 NUIT BLANCHE PARIS, Perle, Paris, FR
2013 SOCIÉTÉ DE CURIOSITÉS, Paris, FR
2013 Ein Nachtstück, Cité Internationale des Arts, Paris, FR
2012 HUMAN FRAMES, Werkstatt der Kulturen, Berlin, DE
2012 untitled, Screening in public space, Cala Llamp, Mallorca, ES
2011 HUMAN FRAMES, The Substitution, Singapore, SG
2011 HUMAN FRAMES, Kunst im Tunnel, Düsseldorf, DE
2010 700IS Reindeerland, experimental film/video festival, IS, NO, USA, HU, UK, PT
2008 AN DEN GRENZEN DER BEGRIFFE - ARBEITEN MIT DER FILMKAMERA, Curator: Günter Puller, Filmfestival Bayreuth, DE
2008 AN DEN GRENZEN DER BEGRIFFE - ARBEITEN MIT DER FILMKAMERA, Topkino, Vienna, AT
2008 AN DEN GRENZEN DER BEGRIFFE - ARBEITEN MIT DER FILMKAMERA, General Public, Berlin, DE
2007 LYDA´S DEATH, Oficina#1, Playa Grande, Choroni, Venezuela, VE
2005 BLACK IS BEAUTIFUL, marks blond project/Whitespace, Zürich, CH
2003 Matchcuts, Votiv 21, Vienna, AT
HONOURS/AWARDS:
2015 AIR BAU Institut NYC, Camargo Foundation, USA/FR
2015 AIR CCA Andratx, Center for contemporary art, ES
2014 Project Grant, Office of the Federal Chancellor, AT
2013 Project Grant - Paris, Office of the Federal Chancellor, AT
2012 Project Grant - Mallorca, Office of the Federal Chancellor, AT
2012 AIR CCA Andratx, Center for contemporary art, ES
2011 Stategrant Visual Art, Office of the Federal Chancellor, AT
2011 Studio Grant for Paris, Office of the Federal Chancellor, AT
2009 Nomination STRABAG ART AWARD; Strabag Kunstforum, Vienna, AT
2008 Nomination ANTON FAISTAUER PRICE, Galerie im Traklhaus, Salzburg, AT
2007 Project Grant - Venezuela, Office of the Federal Chancellor, AT
2006 Project Grant - Paris, Office of the Federal Chancellor, AT
2003 Nomination PFANN OHMANN PRICE, Künstlerhaus, Vienna, AT
2002 Grant, Emanuel Fohn-Foundation, Vienna, AT
2001 Studio Grant for Paris, Office of the Federal Chancellor, AT
2001 Grant, Emanuel Fohn-Foundation, Vienna, AT
1999 Academy Grant, Academy of fine Arts, Vienna, AT
1998 Masterschool Price, Academy of fine Arts, Vienna, AT
SELECTED COLLECTIONS:
CCA ANDRATX, Center for Contemporary Art, Mallorca, ES / ESSL MUSEUM, AT /
URSULA BLICKLE ARCHIV, KUNSTHALLE WIEN, BELVEDERE, Vienna, AT / GESELLSCHAFT DER FREUNDE DER BILDENDEN KUNST, Vienna, AT /
BMUKK, AT / MA7, AT / private collections
SELECTED CATALOGUES/CRITICS/INTERVIEWS:
2012 ARTE, Interview, Metropolis, DE/FR
2011 HUMAN FRAMES, Kunst im Tunnel, Düsseldorf (ed.), DE
2011 artycok, Interview, CZ
2010 Kerstin Engholm Gallery, Nicole Scheyerer: Falter, AT
2008 AUSTRIA conTEMPORARY - emerging artists, Sammlung Essl, Vienna (ed.), AT
2008 ORF Kultur, Interview, AT
2008 Anton Faistauer Preis, Galerie im Traklhaus, Salzburg (ed.), AT
2008 Christa Benzer: Der Standard, AT
2006 Nicole Scheyerer: Die Presse, Vienna, AT
2000 Academy of fine Arts Vienna (ed.), AT
1999 Muntean/Rosenblum: Art after the Turn of the Millennium, Academy of fine Arts (ed.) Vienna, AT
since 2001 solo catalogues/limited editions, AT
FILMWORK:
2014 DIE IHR BROT MIT TRÄNEN Aß (requiem for an unendurable paradise), ciné collage, single channel video installation + LP and record player, 5.45 min
2014 LE RADEAU DE LA MEDUSE, ciné collage, silent, colour, 24 sec
2012 EIN NACHTSTÜCK, ciné collage, 3 channel filminstallation, loop, BW, no sound, 5 min
2011 13 POÈMES VISIBLES, super 8-film installation/filmloops, ciné collage, no sound, 10 sec - 35 sec
2008 NOCTURNE IN BLACK, ciné collage, colour, sound, 3.22 min
2008 KIRKIRERLAND, super 8-filmloop, ciné collage, colour, 1.10 min
2007 4. AKT LYDA’S DEATH, ciné collage, colour, sound, 3.50 min
2006 UNTITLED/SILENTMOVIE, ciné collage, colour, sound, 3 min
2006 DER BITTERE BEIGESCHMACK, ciné collage, colour, sound, 3 min
2005 HEROES&LOSER, ciné collage, colour, sound, 3 min
2005 KIDS, colour, sound, 1 min
2004 THE ADVENTURES OF RICK CASTLE AND SANTA FEE, cine collage, colour, sound, 2.30 min
2004 PARIS MON AMOUR, ciné collage, colour, sound, 3 min
2004 DIE SONNE MEINES LEBENS, ciné collage, colour, sound, 3.12 min
2004 ZUG, ciné collage, colour, sound, 1.30 min
2004 BARBARA & PAUL, ciné collage, colour, sound, 2.30 min
2004 BLINDNESS, colour, sound, 3 min
2004 TRIPLE TAK, ciné collage, colour, sound, 4.30 min
2004 FIGHT, colour, sound, 1 min
2004 SOMETHINGS STILLING, colour, sound, 3.30 min
2004 WATSCHN, colour, sound, 2.40 min
2004 DEPECHE MODE DANCER, colour, sound, 2.30 min
2003 KANIKULA, colour, sound, 7 min
2001-2003 CHERCHER LE DESTIN, colour, sound, 7 min
ARTIST IN RESIDENCIES:
2015 BAU Institut, Camargo Foundation, Cassis, FR
2015 CCA Andratx, Center for Contemporary Art, Spain, ES
2014 Cité Internationale des Arts, Paris, FR
2013 Cité Internationale des Arts, Paris, FR
2012 CCA Andratx, Center for Contemporary Art, Spain, ES
2012 Rome, IT
2010 Cité Internationale des Arts, Paris, FR
2006 Cité Internationale des Arts, Paris, FR
2001 Cité Internationale des Arts, Paris, FR
VIDEO EDITION:
LOWAVE, Human Frames video edition, Fear, Paris, FR, 2011
VINYLS:
2014 Composition in d minor (pour lui), piece for a piano, Paris, 2013 / composed and arranged by Patricia Reinhart, 7 min, A + B, limited edition, FR
2003 Untitled (Chanson d’ Hélène), recorded session with artists and musicians of Quelle / voice: Patricia Reinhart, Atelier Quellenstraße Vienna, 5.23 min, A + B, limited edition, AT
// * C. G. Jung
www.patriciareinhart.com
[email protected]
© PR /14 limited edition / 2nd edition / sponsored by the Office of the Federal Chancellor, AT