Munsch Birgit (°1973, Mulhouse) is an artist who works in a variety of media. By creating situations and breaking the passivity of the spectator, Birgit wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
Her artworks 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 absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, she tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
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 studying sign processes, signification and communication, she formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
Her works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. With Plato’s allegory of the cave in mind, 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 question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By investigating language on a meta-level, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By experimenting with aleatoric processes, 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 works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By demonstrating the omnipresent lingering of a ‘corporate world’, she makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in art. Munsch Birgit currently lives and works in Saint Martin De Seignanx.
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