(Auswahl)
"Lisa Kunit – Das Licht des Widerspruchs", Ausstellungseröffnung, Galerie Franzke, Wien, März/April 9. 3. 2006.
„Christian Ruschitzka – Ausstellung ‚Statuen’, Pressetext, Galerie Martin Geier, Meran, 4. 3. – 7. 4. 2006.
"New Perspektive" Isabell Kneidinger, Thomas Weinberger, Ausstellungseröffnung, Kulturhof Weistrach, Okt. 2004.
Wider das Licht, Katalog Lisa Kunit, Wien 2004.
Zwischen Kunst und Kind, Ausstellungseröffnung, Artothek, Kunsthalle Krems 2003.
Stichworte, in: Hilde Absalon, Malen mit Fäden, Hg. Johannes Gachnang, Bern/Berlin 2002. S. 11ff.
Grazien, in: Texte zur Ausstellung, Christian Ruschitzka, Galerie Bleich-Rossi, Graz 2000.
It is not permitted to step on the beach with Fish, in: Katalog zum III internationalen art symposium, Fieldwork in Fujino, Fujino 2000.
Emilie Mediz-Pelikan, in: Das Jahrhundert der Frauen, vom Impressionismus zur Gegenwart, Katalog zur Ausstellung im Kunstforum, Residenzverlag 1999, S. 233ff.
Das Wesen Kitsch, in: Sterz, Zeitschrift für Literatur, Kunst & Kulturpolitik, Nr. 82, Kitsch, Graz 1999, S. 6.
Der Jungbrunnen als ästhetisches Problem, in: Bericht der Fachtagung des Bundesministeriums für Frauenangelegenheiten und Verbraucherschutz, Wien 1999.
Anselm Glück, Folder zur Ausstellung, Galerie Hohenlohe & Kalb, Wien 1998.
Die Umwelt unserer Wahl gibt es, sehr beschränkt, aber doch, ist zu hoffen, Text als Auslage, Kunst & Antiquitätengeschäft, Stubenring 6, Sommer 1997.
etc.
It is not permitted to step on the beach with fish
Recomandation for mechanical landscapes I/2000
The first idea was to make the ground one walks on float, than we thought of the island with the Japanese Sea on one side and the Pacific Ocean on the other. We knew about the importance of japanese architecture and the love of japanese people for gardens. Then we saw Fujino for the first time, then the river and then the abondoned campingsite.
We like to work with things that are useful to people but were given up, thrown away, which are no use anymore for some reason or other. They might be broken or out of fashion, they simply do not have their original function anymore. So it was the perfect spot for our proposed plan. Of course we had to respond to the location so our project began to change and develope.
We installed to waterbedmattresses, one as we originally planned beneath groundlevel, the other in one of the cabins on a sort of iron bed and covered them with sand like a sandpit for children or like on a lovely beach.
The bed, the water and the sand in an old japanese campingsite in the mountains are three things we put in a place where they do not belong. They build a ground we cannot tread on, they materialize a beach where there should not be one and a pool you cannot swim in. Those images evoke perceptions the civilized world likes to have, sensations which stand for an idyllic way of life. Underlinded are those sensations by the concept of the bed and the garden, a very simplyfied sand garden.
The bed which cuts with it's feet through the floor of the house and the garden which traditionally symbolizes water but makes moving waves indeed we see as metaphors for dreaming-sleep-silence-peace and of course sexuality-planting-blooming-life.
The various items are put together in a sort of composition to irritate our longing for the idyllic, to irritate our perception of the world around us. The beach is in the house, above the ground, the sea is actually in the earth, up side down, beneath the ground.
The observer gets a simultation of fullfilled desires ripped of all their unpredictable dangers and should be enabled to reflect on free associations in a limited controlled part of the world. The offered security and controle must be disturbed, you can even set the waves in motion on your own account.
Sophie Geretsegger
Christian Ruschitzka
Fujino, August 2000
