lea titz · 2018-02-20 · of boxes with portrait heads stashed between the crumpled balls of...

© Lea Titz | 1

selection – 2016

lea titz

© Lea Titz | 2 © Lea Titz | 3

The pictures show ate tracks of bark beetles, transferred to circuit boards. The tracks are preserved as copperdrawings on plastic plates by the process of circuit board etching. The coppery tracks are able to conduct electricity.

Buchdrucker - ips typographus

2017, each 10 x 16 cm, Copper on Epoxy

Buchdrucker - ips typographus

2017, each 10 x 16 cm, Copper on Epoxy


contemplation 12017, 2 minutes, Montello (Nevada) mit Markus Guschelbauer

contemplation 22017, 3 minutes, Montello (Nevada) mit Markus Guschelbauer

6 | © Lea Titz © Lea Titz | 7

... using the simultaneously scary and beautiful format of the “flag“ for a thought expe-riment, the Earth has agreed on a common flag design to presents itself as a united entity to the „outside“.

Since there is no way to represent all the continents equally, the decision was to con-front the matter directly and take the mushroom specimen Collared earthstar (Geas-trum triplex) as a motif, from the fungus genus Earthstars/Geastrum.

The name of the mushroom genus Earth Star/Geastrum makes it a symbol of the Earth in itself. Through the „star“ in the name comes the automatic association of the Earth as one of many heavenly bodies.

The family Geastraceae is represented worldwide.

geastrum

Earth(star) Flag2016, 200 x 80 cm, print on banner cloth


in search of lost time

2014 – 2015

life in the woods

2015 – 2016


sisifus2015, video loopwith Florian Wieselthaler, music by Bernhard Lang

The video „Alb“ (...), applies the principle of transforma-tive animation in its most literal way. Here, the uncan-ny and comic hybrid unfolds from the mountain side, stone-, mountain- and animal-like, crackling and tum-bling, yet never truly revealing itself to the impatiently waiting viewer. The mountain labours, but the nightma-rish dwarf refuses to be fully born and remains half-for-med, keeping hidden its mechanics and its nature. Anselm Wagner

alB / nightmare Wendelin Pressl & Lea TitzDachstein mountain, 2005, video, 4:30 minutes


mixed media i, ii2007, black-and-white prints, variously sized - direct enlargements of a camera displaycreated with the aid of an analogue enlarger

In the case of this photographic series I try to empha-size the interplay between the actual image and its translation into graphics. I have drawn on the photogra-phic template so long, until it started to formally resem-ble its own graphic representation. For this project, I have developed a technique allowing me enlarge photos without the transitional processing step on a computer. Rather than the usual negative slide, the whole digital compact camera with which the photos were taken was inserted into a conventional enlarger. The illuminated display was exposed directly onto photographic paper. That is why the images are inverted, reversed and inclu-de the raster of the individual display lights.

mixed media iii2007, black-and-white prints, variously sized - direct enlargements of a camera display created with the aid of an analogue enlarger


Thinking of Graz, I see endless green slopes endlessly rolling, endlessly growing, towards the horizon, towards the high skies, endlessly, effortlessly echoing, echoing effortlessly, endlessly footsteps on rickety rockety stair-cases, echoing endlessly bellchimes and nothingness. My presence, my endless for unbegun presence. Onno Kosters

It is big! It is small! There must be many diffe-rent ‘Graz-es’. Lea Titz

Fig tree and fine dust: siblings in the Graz Basin. Lea Titz

Graz, oh Graz, how I would like to say my good-byes to you at once. I almost count the days to my adieu. I‘ll be sad after, I‘m not good at goodbyes. But I would really like to take a chance. That I am still here is an inte-rim solution, an unresolved temporarily. Andrea Stift

I touch the roofs of the city with an index finger outstretched. Milena Flasar

graz-es2011, Indian ink, barium print on aluminum, 100x100cm


I never was in Graz before. Simone Lenaerts


Our voices, swallowed by the river. Milena Flasar

The regulated and straightened water has eaten so deeply into its bed that it could hardly be seen anymore. Likewise it is with the emotions of the Graz citizents. Werner Schandor

And you will see that the city, which was opening up in the decades from 1970 to 2000, has been closing up again for a few years now and has narrowed.Werner Schandor

A life behind every window, just beyond a billowing curtain.Milena Flasar


graz-es2011, indian ink, barium print on aluminum, 100x100cm

The beauty of the higher houses in the east of the city is their view of the mountain forest in the city’s middle - the Schlossberg with the remains of the 1809‘s fortress of Graz. Werner Schandor


Kristine Tornquist: Lea Titz is a master of minimal interventions. The lar-ger, heavier and the functional part of „Watch“ is ready machinery: circuit board, cable, metal pins, white plastic teeth of countless cogs, copper winding, black injection moulds and battery, all ticking constantly in interplay with each other. Once in sync, then again in disagree-ment, generating a constantly changing landscape of sound. Only the smallest part of this herd of little ticking creatures is designed by her - but it is precisely in this few milligrams of pink paper that the essential lies.

If you consider a group of people from a great distance you would think their proportions are similar. There is much more in people that connects them, rather than differentiates them. They all function physiologically and psychologically like a clockwork mechanism, rotate in their daily rhythm in the same circle between waking, eating, working, hoping, fearing, loving, living, falling asleep.

Nina Dick: And perhaps the colour pink helps to look at these me-chanical rotations with a relaxed smile?

watch, or the pink idleness 2010, clockwork mechanisms and paper, each 5 x 6 cm

watch, or the pink idleness 2010, clockwork mechanisms and paper, each 5x6cm


spider silk2011, decorative plates, stockings


kincsem parkMagdalena Pilko & Lea TitzVideo, 3 minutes 10 seconds, Budapest, 2005, 2012


worm castingsObject: Acrystal and papiermaché ca. 115x100x80cmExhibition view at Fotogalerie Wien

The series Worm Castings (2013), a group of sculptural figurations on light-coloured pedestals, all apparently from the same informally modernist artist, turn out to be a series of earthworm droppings that Lea Titz placed on chewing gums. „Worm Castings“ is incidentally the cor-rect term for these earthworm excrements. This is also a reference to Surrealism, the subversive-ironic invo-luntary sculptures („Unintentional Sculptures“, 1933) by the photographer Brassaï. Enlarged and under the eye of the beholder trained in modernity, his photographs of tiny bits of rubbish or paper scraps became „abstract“ sculptures. Of course, the photograph itself was not allowed to reveal the original scale. Titz then goes on to expand her „sculpture theme“ by translating the form of one of these motifs into a magnified plaster cast.

Silvia Eiblmayr

worm castings2013, C-prints , ca. 4 x 6 cm


In the archive of a traditionalist classical sculptor of the twentieth century, Lea Titz discovered a series of boxes with portrait heads stashed between the crumpled balls of paper. These gypsum portrait heads, presumably designed for casting, are stacked side by side like lumps of coal, giving the impression

of involuntarily comic seriality, which, together with the highly plastic trompe-l‘œil effect, undermines the former pathos of the genius master sculptor.Silvia Eiblmayr

from the series plaster castings, 2010, C-prints, each 40 x 60 cm

from the series plaster castings, 2010, C-prints, each 40 x 60 cm


hayashi #3Tokio, 2013, print on handmade paper, 110 x 73 cm

hayashi #7 & #2 Tokio, 2013, print on handmade paper, 110 x 73 cm

In her conceptual approach, Lea Titz reflects on the process of photography and then methodically applies this moment of reflection with a dose of subtlety and wit. To put it simply: what makes analogue photography? To make, with the means of apparatus and chemistry, a replica on paper, which we are accustomed to deem as reality: even if it’s only in black and white.

Lea Titz follows the logic of the replica: for example, in Japan she discovers a symbolic tendency in city design, a great longing to replace the repressed nature, even if only as its imitation. Wooden stumps cast in concrete become seats, tree trunks are furnishing a toilet or little trees with cut-off branches are serving as lanterns. Titz photographed these nature-imitating sculptural casts and composed an image from of their digitally cut out individual elements, thus creating an artifical nature scenery out of the artificial nature scenery, to a second degree. The fact that an image of a Japanese flag has emerged is a nice tribute to her host country.Silvia Eiblmayr


hayashi #5 & #6Tokio, 2013, print on handmade paper, 110 x 73 cm

hayashi #1 & #4 Tokio, 2013, print on handmade paper, 110 x 73 cm


kilometerknödel2009, postcards, 10x15cm

The 1-kilometer-long pencil line was multiplied to 500 kilometers by printing 500 postcards of its image. The post-cards/printed kilometers can be lined up to create distances of different kilometrage.


mechanization lost command

An empty hall, typical underground garage, a bit fucked. Angular light incidence from the left. The camera lens is set to ‘total’. Ceiling, wall, pillar: everything at a right angle to the line of sight, symmetrical. A perfect, monu-mental widescreen stage.Suddenly a too-familiar melody breaks through the si-lence: Ennio Morricone’s harmonica solo from „Play me the song of death“. But these are not Charles Bronson and Henry Fonda, who are on the nerve-racking show-down. (...)Anselm Wagner

tumBleweed2006, video, 2 minutes


The most famous illustration of a mythological story in connection to cloud is the one by Antonio Allegri Correg-gio: a love adventure of Zeus and Io painted in 1530, now in the Kunsthistorisches Museum in Vienna. In his „Metamorphoses“ Ovid tells of Zeus falling in love with the Virgin Io. Yet she fled before him - so the god made the dark mist rise, clouding her vision and forcing Io to stop. Thus Zeus robbed her of innocence, but the inex-plicable cloud of fog drew attention of his jealous wife Hera. He could only avoid discovery by quickly turning Io into a cow. ...Johannes Karel

exhibition catalogue Stark bewölkt - flüchtige Erschei-nungen des Himmels, 2009, Springer-Verlag, Wien

Jupiter2005, C-print on aluminium, 100 x 100 cm

io2005, baryt print on aluminium, 100 x 100 cm


owning the weather - staBle exchanges 2015

owning the weather - staBle exchanges2015

Baroque apparitions of clouds nestle in the inner-city architectural landscape of Vienna, suggesting a black-and-white documentary-style authenticity.Surreal snapshots of the phenomena that left the sacredness of churches behind to reach a metamor-phic state reminiscent of mud pies, soap bubbles and mushroom clouds.

These perceptions are similar to the ones common for people living with the irregularly occurring ‘symptom of the aura’. This is a type of migraine that causes a distur-bance and hallucination-like changes in perception, and as such continuities to inspire artists. .


the images are part of the Book saxa ruBra – saxa alBa Bibliothek der Provinz, 2008, from Gertrude Maria Grosseg-ger (text) & Lea Titz (image) and texts from Werner Fenz and Daniela Bartens..black-and-white prints - direct enlargements of a camera dis-play, created with the aid of an analogue enlarger

Recording medium for this project is a small digital ca-mera that fits in every pocket and is a tool for collecting tourist trophies. The display from the back of the digital camera is exposed directly on photo film, without the transitional processing step on a computer. Instead of a negative, the digital camera itself is fitted into a conven-tional magnifier and the image that the red, green and blue lamps create on the display is directly exposed to light-sensitive paper, developed and fixed.

However, this time I am only interested in the small area of the display: the so-called histogram that shows

the information on the brightness distribution within the image in the form of a statistical curve. How many white areas and how many black areas are there? How many areas in between?

I am interested in the statistical curves of my tourist imagery caught on camera, because this way it gains a concrete form of its own – a life of its own. We make data and numbers from computers into their own parallel worlds in order to make them easier for us to grasp. A „revival“ for the photos of cakes and pedestals, sky-lines and mountain panoramas takes place - combined

in this instance with the underlying detail from the analy-sed image. And even if only as a graphic representation of statistical data, it could be based on different studies. The loudness of Piazza Venezia on Sundays or the number of passengers of the train between Termini and Saxa Rubra over the course of a working day…


repeated Bristle i – iV – indian Bull, Boar, hedgehog & Bearfrom the image in the so-called Reiner Musterbuch (1979)

Rein Abbey, 2007, each 14x9cm, 12 photographs on baryte paper, direct enlargements of a camera display, created with the aid of an analogue enlarger

repeated Bristle iV – the Bearfrom the image in the so-called Reiner Musterbuch (1979)

Rein Abbey, 2007, each 14x9cm, 12 photographs on baryte paper, direct enlargements of a` camera display, created with the aid of an analogue enlarger

repeated BristleReiner Musterbuch (1979) book of samples

For me, the special quality of sample books is their openness to being copied. Not even: copying is desired! This is what they were made for.


The perfect modernist lampshade is reminiscent of a huge flower umbel. As such, it seduces and tricks the two flies into circling this classic, slightly old-fashioned object like assiduous bees. Yet Instead of the humming of the flies you can hear the sounds of two different

vacuum cleaners from off-stage: devices, equipped with insect-like suction cups, indispensable for the cleanli-ness cult of modernity..Anselm Wagnermasterplan

2008, video, 3 minutes


mechanization lost command2009, video loop

Gears without teeth and with indeterminate ratio one to another.


the role of the oBserVer or self-made uniVersal pictures of a planetary system for your home en-tertainment centerMulti-channel video installation, 2009

pilots2011, C-prints, 53 x 53 cm and video loop

The helmets are petrified cocoons of a proboscis beetle. The sound of racing sound from the cockpit. It is a race within two different time units and a competition like any other.

43 | © Lea Titz 44 | © Lea Titz

graz - View VGraz/Vienna, 2008, each ca. 30x45cm, C-print direct enlargements of a camera display, created with the aid of an analogue enlarger

A photographic enhancement of the Graz City panoramas by Conrad Kreutzer. The lo-cation of two out of the six original panorama views is unknown. View V is now in dupli-cate - several weeks before the exhibition the original appeared in the auction house Dorotheum in Graz and thus it was possible for the Municipal Museum of Graz to buy this work at the auction.

„1840/41, shortly after the invention of pho-tography, Kreutzer‘s meticulously detailed panoramas give testimony to the object fixa-tion of the bourgeois, which in itself provided the impulse for the development of the pho-tographic process. Like the artist’s handwri-ting seems to disappear through refinement of the meticulous fine painting technique, so is photography seemingly produced by „pen-cil of nature“, without human intervention. Technically, Lea Titz’s digital panorama is even more exact as it includes the histo-gram, but at the same time very inaccurate due to its low resolution. The extreme blur-ring of the image is created through the com-bination of analog and digital.„Anselm Wagner

exhiBition View „collectors“Stadtmuseum Graz, 2008


nails, heads, figuresHD video, 10 minutes, 2014

The starting point for this work were the numerous donation collecting campaigns – historically, they often took form of hammering various wooden objects with nails. For the price of a crown you could buy a nail to be hammered into a wooden knight or bear, shield, table or other.

Furthermore, I was always interested in capturing and measuring events in numbers as well as the possibility of then bringing these figures back into a concrete form for better comprehensiveness - such as column diagrams and pie charts.

The video consists of three parts. In the first part we can hear the poem “Expres-sionist Artillerist” by Franz Richard Behrens, which he wrote during his voluntary front service and in which he combines the continuous upward count with scraps of thoughts about the war.

The second part of the video mainly consists of lists from the “Kriegsstagebuch” (war diary) by Franz Tauschmann. In 1915, when he began writing, he was 11 years old and lived in Altenmarkt (Styria). He also wrote, among other things, about vari-ous donation collecting campaigns organised by the civilians for the aid of soldiers, widows and orphans.

nails, heads, figuresHD video, 10 minutes, 2014


fly ..-. .-.. -.-- developed from the video work from 20092011, 30 m carpet, wall sticker

The travellers play an on-going concert all around the globe.

Every floor is at once a score and a musical instru-ment that we play with our suitcases and bags. Wheels bounce, crack, rattle and whisper.

score and composition for trolleys 2009, 3:50 minutes, video loop


The images are an intersection between my artistic work and that of a repro-photo-grapher for a museum: my two strategies of survival. They were created in the Naval Museum in Split. I like to make reproductions correct and well, but there is an excite-ment in making them purposefully “wrong”, to allow the reflections and lens flares to act as sunsets, backlights and parhelia (sun dogs).

Split, 2011, each 97 x 71,5 autonomous image #6 The honest one, that doesn’t want to pretend to be idyllic

autonomous image #2Don‘t give a damn about a smooth surface

autonomous image #1 Red cracks out to bring a dawn

autonomous image #4 Weather lights and hail stones

autonomous image #7, #8 & #9Sunset

Split, 2011, each 97 x 71,5 cm


hartmut skerBisch – lichtschwert 1992 ferdinand penker – untitled 1988

grazer opera 1899 and kaiser-Josef-platz douBle-spiral staircase 1499

cityoneminutes - grazhttp://www.cityoneminutes.org Graz - Track: # 03, # 08, # 09, # 19HD videos, 1 minute each, Graz, 2011


exhiBition Views


exhiBition: kollektoren (collectors)Stadtmuseum Graz / Akademie Graz, 2006

exhiBition: staBile erscheinungen (staBle exchanges)sono Werksgalerie, Salzburg, 2015


exhiBition: solo VFotogalerie Wien 2014

exhiBition: graze (graz-es)Liiteraturhaus Graz, 2011


exhiBition: tierchen (animals)Akademie Graz, 2016

exhiBition: Bild & geBildeGalerie Marenzi, Leibnitz 2015


LEA ITZ – CV (short)

*1981 born in Graz, lives in Vienna. My work consists of photography, video/film and installations

2003–2009 Studied Fine Arts at the University of Applied Arts in Vienna2006 – 2011 founding member and running of fullframe, festival for art- and avantgar-de film in Vienna. 2001–2003 Apprenticeship in Graz und Rosenheim2000–2001 Akademie für angewandte Fotografie Graz.Grants/Awards: 2017 The Austrian State Scholarship for visual arts/photography2013 Artist in Residence by the Austrian Ministry of Culture for three months, Tokyo/Japan 2013 Mentor-Scholarship, Silvia Eiblmayr (Austrian Ministry of Culture)2012 Artist in Residence (deBuren) Chartres/France2011 Artist in Residence (Kulturamt der Stadt Graz, Udruga KURS) Split/Croatia 2008 Prize for Photography by the City of Graz/Austria 2007 Ursula Blickle Video-Award, Germany/Austria2007 Artist in Residence (styrianARTfoundation) Stift Rein/Austria2006/2005 Artist in Residence (Art:Network) Dachstein/Austria

Solo-Shows: 2016 Tierchen, Akademie Graz 2015 SONO Werksgalerie Salzburg2015 Galerie Marenzi , Leibnitz 2014 Solo-Booth at Artfair, Athens 2014 SOLO V, Fotogalerie Wien 2014 Citybooks Graz, Designhalle Graz 2011 Moj je tvoj, Stadtmuseum Split 2011 Graze, Literaturhaus Graz 2008 Kollektoren, stadtmuseumgraz/Akademie Graz.

Books: 2017 Dick&Titz, with Nina Dick 2012 citybooks graz, edition keiper 2008 Saxa Rubra/Saxa Alba, Gertrude Grossegger (textt) & Lea Titz (image), Biblio-thek der Provinz

www.leatitz.com

LEA ITZ – CV (kurz)

*1981 geboren in Graz, lebt in Wien. My work consists of photography, video/film and installations

2003–2009 Studium bildende und mediale Kunst an der Universität für angewandte Kunst Wien2006 – 2011 Gründungsmitglied und Leitung im Dreier-Team von fullframe, Festival für Kunst und Experimentalfilm Wien 2001–2003 Fotografielehre in Graz und Rosenheim2000–2001 Akademie für angewandte Fotografie Graz.Stipendien/Preise: 2017 Staatsstipendium für künstlerische Fotografie2013 Atelierstipendium des Bundes Tokyo/Japan (3 Monate)2013 Mentoren-Stipendium des Bundes, Silvia Eiblmayr 2012 Artist in Residence (deBuren) Chartres/Frankreich2011 Artist in Residence (Kulturamt der Stadt Graz, Udruga KURS) Split/Kroatien 2008 Förderpreis für künstlerische Fotografie der Stadt Graz2007 2. Ursula Blickle Video-Preis, Deutschland/Österreich2007 Artist in Residence (styrianARTfoundation) Stift Rein/Steiermark/Österreich2006/2005 Artist in Residence (Art:Network) Dachstein/Österreich

Einzel-Ausstellungen: 2016 Tierchen, Akademie Graz 2015 SONO Werksgalerie Salzburg2015 Galerie Marenzi , Leibnitz 2014 Solo-Booth at Artfair, Athens 2014 SOLO V, Fotogalerie Wien 2014 Citybooks Graz, Designhalle Graz 2011 Moj je tvoj, Stadtmuseum Split 2011 Graze, Literaturhaus Graz 2008 Kollektoren, stadtmuseumgraz/Akademie Graz.

Bücher: 2017 Dick&Titz, mit Nina Dick 2012 citybooks graz, edition keiper 2008 Saxa Rubra/Saxa Alba, Gertrude Grossegger (Text) & Lea Titz (Bild), Bibliothek der Provinz

www.leatitz.com

stephansplatzVienna, 2009, video, 29:50; drawing, 30 x 40 cm, anonymous

After I brought back the surveillance pen to its original function as a writing tool in the work “Letter”, in this project it becomes a tool for sketching. I had a portrait of myself made with a surveillance pen by one of the portrait pain-ters on Stephansplatz.

The experience lasted for about half an hour, and the video recorded by the pen while drawing, showed a videosketch about me, the portrait painter and Stephansplatz.

lea titz · 2018-02-20 · of boxes with portrait heads stashed between the crumpled balls of...

Documents

Transcript of lea titz · 2018-02-20 · of boxes with portrait heads stashed between the crumpled balls of...