Die Ausstellung „S/HE IS THE ONE“ widmet sich aktuellen performativen künstlerischen Praktiken, Embodyment-Strategien und deren Artikulation in verschiedenen Medien in Gegenüberstellung zu historischen Positionen der Performancekunst. Wie wird durch Performances eine andere oder neue Erlebbarkeit von Welt produziert? Wie gelangen dabei Methoden der Appropriation, Dekonstruktion, Konstruktion, Reformulierung, Transposition oder der Übersetzung zum Einsatz? Wie sehr dient die Performance als Mittel in der Kunst, um politische, feministische Fragestellungen oder die Rolle der Autorschaft in direkter Konfrontation mit dem Publikum zu artikulieren?

Was man nicht denken kann, das soll man tanzen.

Performing the Sentence brings into dialogue the ways that “performative thinking” has developed in different national and institutional contexts, within different disciplines in the arts, and the conditions under which it has developed in experimental art schools.

The artist’s need to ask which (historical) events are relevant to the present and to amend (art) history seems particularly great in a media landscape that builds upon the constant availability of medial representation rather than direct experience. (Engl.)

In 2010/11, a group of Vienna-based art practitioners (artists, art historians, and cultural theorists) embarked on a journey of experimental research, exploring the genealogical and political implications of the ways in which research rhetorics and policies are currently incorporated into the fields of contemporary art and art education. Troubling Research: Performing Knowledge in the Arts, a collection of “books” of essays and conversations, is the quirky and exhilarating outcome of this collaborative endeavor to render a “problematization” by interrogating the very conditions of the current upsurge of the art/research articulation.

In her work—spanning installations, videos, and performances , Carola Dertnig addresses artistic processes in relation to historiography, genre, and perspective.