At the centre of "the other planet" by Tina Ribarita, both spatially and conceptually, there is a lush, green forest. A camera moves slowly through giants leaves, examining every angle, immersing the viewer in this overwhelming space. The image does what it can to prove to us: this is real. Or, implicating our bodies: you are here. This very insistence comes off as suspicious, undermining its own claims. As in other works by Tina Ribarits, though, there is a twist. This seeming simulation gestures towards computer-generated, stereoscopic 3D imaging, but is in fact the result of Ribarits’ genuine time spent in the Brazilian Amazon. You may not be there, but she has been. Really.
Brightly coloured paintings add another dimension to the ubiquitous green, bringing in, on the one hand, the European Victorian naturalist, making cheerful drawings back home. On the other hand, they also consolidate the sense of science fiction which lingers in the space. There is an energy and fun to the painting, which stands in, perhaps, for a desire for freedom. The firmly not-real can also allow space for critique, in the tradition of the anarcho-feminism of Ursula LeGuin.
Catharina Bond deals with culturally constructed patterns of perception, especially socially determined norms and hierarchies as well as subversive mechanisms of communication which emerge from those structures. Those familiar and historically evolved frameworks are being questioned and reflected by introducing subtle modifications within their content or characteristics.
A new photo series entitled “The Freezing End” by Bond will be shown at viennacontemporary as well as her latest porcelain/silicone-sculptures: Furious, sarcastic reactions on today’s understanding of ‚proper art‘.