Hanna Auer (°1992, Salzburg, Austria) is an artist who works in a variety of media. By merging several seemingly incompatible worlds into a new universe, Auer creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
Her artworks are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By demonstrating the omnipresent lingering of a ‘corporate world’, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. With a subtle minimalistic approach, she uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
Her works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. In a search for new methods to ‘read the city’, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By examining the ambiguity and origination via retakes and variations, she focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. With a conceptual approach, she considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By focusing on techniques and materials, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
Her practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of art: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination.
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