Project Description

Joerg Auzinger
Artist Profile

Media Art
Photography
Artistic Research

Joerg Auzinger
Artist Profile

Media Art
Photography
Artistic Research

Joerg Auzinger creates artwork grappling with the sociopolitical aspects of our technology-riddled communication society

Joerg Auzinger is a media artist living and working in Vienna and in Graz, Austria. Auzinger’s artistic work is situated between art, science and technology and often deals with the relationship between human, nature and machine and the sociopolitical aspects of a technology-based communication society. In interactive installations, photographic works and objects, he analyzes the function of new and old media and their construction of realities and the associated changes in our concept of reality. His work often deals with the correlation of analog and digital conditions. Joerg Auzinger studied media art with Peter Weibel. Previously, he graduated from the Department of Audiovisual Media Arts at Graz Ortweinschule for art and design with Richard Kriesche and studied film directing at the Vienna Film Academy under Axel Corti. Joerg Auzinger’s works can be seen in national and international exhibitions. Auzinger was a visiting professor at the University of Applied Arts for „Expanded Photography“. He holds workshops and lectures, was artistic director of the gallery reflector in Vienna and co-founder of the Graz art association support. He has curated an international art prize and was the organizer of regularly held art salons in the Vienna suburb areas. Auzinger works in the fields of interactive installations, film and media art as well as in artistic research and scientific topics. He pursues interdisciplinary artistic approaches and usually realizes his projects interactively and participatively. The viewer thus becomes an active participant and thus an essential part of the project.

Biography

1972

Joerg Auzinger was born in Linz, Austria

1982 – 1987

Kollegium Aloisianum
Jesuit Academic Highschool, Linz

1992 – 1994

Studies in Film Directing
University for Music and Performing Arts, Vienna, Prof. Axel Corti, Department for Television and Film

1994 – 2002

Studies in Media Arts
Master Degree in Media Arts, University of Applied Arts, Vienna, Prof. Peter Weibel

1997

Founding member of the Graz based Art Society support
Exhibitions focusing on contemporary media art

1999 – 2002

Media Theory and Semiotics Studies
Institute for Art and Knowledge Transfer,
University of Applied Arts and Institute for Philosophy, University Vienna

2001 – 2003

Teaching position in Media Art and Photography
Secondary Technical College for Art and Design, Graz

2010

Visiting Professor at the University of Applied Arts
for Expanded Photography, Vienna

2013 – 2016

Artistic Director of the contemporary art space and gallery reflektor, Vienna

Artistic works since 1992
Joerg Auzinger currently lives and works in Vienna and in Graz, Austria

Bio Deutsch PDF
Bio English PDF

Exhibitions

Sync   Rupertinum/Salzburg

Firmament   Brick5/Vienna

Publicum   KULTUM/Graz

2019

Destinesia
Solo Show, ©Foto Wien, Iko Art Space, Vienna

Photo Graz Selection III
ORF Funkhausgalerie, Graz

2018

Biennale der Steirischen Fotokunst
Kulturzentrum bei den Minoriten, Graz

Sammlung Galerie Marenzi
Marenziquartier, Leibnitz

Fotoforum
Fotoforum, Innsbruck

Erde.Erde
interactive Videoinstallation for the Zoom Kindermuseum, Vienna

Photo Graz Selection II
Galerija Waldinger, Gradske Galerije Osijek, Osijek, Croatia

Galerija Zuccato
Poreč, Croatia

Kulturní Centrum Řehlovice
Řehlovice, Czech Republic

Gradski Muzej Vršac
Vršac, Croatia

2017

Styrian Power
Kunstverein Kärnten, Künstlerhaus Klagenfurt, Klagenfurt

PhotoGraz Selection Zagreb
Austrian Cultural Forum, Zagreb

2016

photo graz selection
Galerie Photon, Vienna

firmament
EyesOn – Monat der Fotografie, Brick 5, Vienna

Izbor Fotografija
MSUV, Museum of Contemporary Art Vojvodina, Novi Sad, Serbia

Kunstsalon Essingers Art Club
Essingerhaus, Mödling

die weisse ab – haus – verkaufs – kunstschau #5
das weisse haus, Vienna

2015

Nonversation
Solo Show, Fotogalerie, Graz

photo graz selection
Austrian Cultural Forum, Zagreb &
centar za kulturu, Cakovec &
Lazaretti, Dubrovnik,
Galerija Waldinger, Osijek,
Kroatien Kulturzentrum HD Herceg Stjepan Kosaca,
Mostar, Bosnia-Herzegowina

Whistleblower
Solo Show, Galerie Einblicke Hallein

kult/ur/räume
Exhibition and Book Presentation, Konfuziusinstitute Graz, Graz

weissehauskunstschau
das weisse haus, Vienna

2014

Ich und die Anderen
Museum der Moderne, Salzburg

photo Graz 014 – Biennale steirischer Fotokunst
Papierfabrik, Graz

2013

Einschmiegen
Steinerne Wehr, Kaindorf an der Sulm, Styria

2012

Avatar
AC Institute, New York

Moderne – Selbstmord der Kunst?
Neue Galerie am Landesmuseum Joanneum, Graz

medien. kunst. sammeln.
Kunsthaus Graz, Graz

die weisse ab-haus-verkaufs-kunstschau
Kunstverein Weisses Haus, Vienna

Kunst://Abseits vom Netz
Galerie Burggasse21, Vienna

PhotoGraz
Österreichisches Kulturforum, Zagreb
Disposition, PhotoGraz Selection, ESC medien kunst labor, Graz

2011

Blind Spots
AC Institute, New York

AIR
Atelier Frankfurt, Frankfurt am Main

Void Screens
Kulturbunker, Frankfurt am Main

Society ́s Mood
flat1, Vienna

Vanitas (Povjetarac)
Vizura Aperta, Media Art Festival, Momjan, Croatia

Adjustierung des Glücks
UnSicher, Public Space, Steinerne Wehr, Styria

2010

Transformers
Kunstverein das weisse haus, Vienna

Grand Tour
KunstSalon Vienna, Vienna

PhotoGraz2010
Stadtmuseum Graz, Graz

2009

Sternchen
Werkstadt Graz, Graz

2008

Publicum
Solo Show, Minoriten Galerien, Graz

FFF
Mohr-Villa Freimann, München

Grazphoto 08
Künstlerhaus, Graz

2007

Void Screens
Solo Show, Galerie Marenzi, Leibnitz

Pixxelpoint
8th International
New Media Art Festival
Mestna Galerija, Nova Gorica, Slowenia

Paradox – Wirklichkeit im Widerspruch
Brick 5, Wien

Photo_Graz. A Selection
Photon Association, Ljubljana, Slowenia

Blind Spot:Die Beobachtung des Beobachters
Solo Show, Galerie Tazl, Graz

2006

Condicion Postmedia
ARCO 2006, Centro Cultural Conde Duque, Medialab Center, Madrid

12th International Festival of Computer Arts
IFCA, Mestna Galerija, Ljubljana, Slowenia

The Failed Show
SODAart,Vienna

Förderungspreis des Landes Steiermark für zeitgenössische
bildende Kunst 2006, Wettbewerbsausstellung
Neue Galerie am Landesmuseum Joanneum, Graz

Sampling05
Galeria Fotografii B&B, Miejskim Domu & Kultury Wlókniarzy,
Bielsko-Biala, Poland

Doppelprojektion
Galerie Günter Eisenhut, Graz

Sampling05
Monat der europäischen Fotografie, Österreichisches Kulturinstitut, Krakau, Poland

Grazphoto 06
ESC im labor, Graz

Sampling06 – Synchronizität
Kunstverein Frieze, Diehlgasse, Vienna

2005

The Millennium Dialogue, In The Line Of Flight
2nd Beijing International New Media Arts Exhibition and Symposium, Bejing

Postmediale Kondition
Neue Galerie am Landesmuseum Joanneum, Graz

Sampling05
Kunst im Öffentlichen Raum, Margaretenplatz 2, Vienna

2003

The Chrono-Files
Lothringer13Halle, Munich

Thatsnew
IG-Bildende Kunst, Vienna

2002

Graz-Intern
Forum Stadtpark, Graz

2001

Nothing is Real
Multimedia Stage Design, Theater am Ortweinplatz, Graz

Switch Enlightenment
Solo Show
Sonnenfelsgasse, Vienna

2000

Electroencephalovisions
Werkstadt Graz, Graz

Scope
O.K- Centrum für Gegenwartskunst, Linz

Scope
Solo Show, Public Space, Kunsthaus Graz
& IGS 2000, Public Space, Unterpremstätten, Styria

comm.gr2000az
Steirische Landesausstellung, Schloß Eggenberg, Graz

1999

Envisioning Knowledge
3.Medienbiennale, Munich

Urban Feelings-Urban Facts
Galerie Kibela, Maribor, Slovenia

Reflector
Solo Show, Raum für Kunst, Graz

1998

Detector
Solo Show
Passagegalerie im Künsterhaus, Vienna

Plazierung
Retzhof, Leibnitz

Transmitter
Fotogalerie Wien, Vienna

1997

Entgegen – ReligionGedächtnisKörper
Kulturhaus, Graz

Libertas
Public Space, Stradun, Dubrovnik, Croatia

Landesförderungspreis für Photographie- Wettbewerbsausstellung
Neue Galerie am Landesmuseum Joanneum, Graz

Transmitter
Solo Show, Palais Trauttmansdorff, Urania Galerie, Graz

Interzone:scan1
Solo Show, Kunstverein support, Graz

Sternchen
Werkstadt Graz, Graz

Grenzräume
Krakau, Polen

1996

Die elektronische Wunderkammer
Konzerthaus, Vienna

1995

Homochronie
Berchtoldvilla, Salzburg

Time Exchance
Steirische Kulturinitiative, Graz

Homochronie
Galerie Pekarna, Maribor, Slowenia

Goes on…
Joerg Auzinger & Christian Bretter, Steirischer Herbst, Raum für Kunst, Graz

Sehnsucht
Joerg Auzinger & Rosemarie Buirgstaller, Galerie am Institut,Institut für Kunstgeschichte der Universität Graz, Graz

1994

Supermarkt – Die wa(h)re Kunst
Werkhof, Graz

Airport
Galerie am Flughafen, Graz

Photographie 1994
Landesförderungspreis für Photographie,. Neue Galerie am Landesmuseum Joanneum, Graz

Steirischer Kunstförderungspreis – Ausstellung
Neue Galerie am Landesmuseum Joanneum, Graz

-75-
Urania Fotogalerie, Graz

Analog
ein interaktives Ausstellungsprojekt
Galerie Gruppe77, Graz

1992

Bilder nach den Kriegen – Wahrheit der Kunst
Solo Show, Steirischer Herbst, Public Space, Tummelplatz, Graz

Scholarships, Grants & Awards

2016

La Biennale di Venezia Summerschool, Cognitive Adventures in the Digital Age, Scholarship of the University of Applied Arts, Vienna

2011

Artist in residence abroad scholarship Frankfurt, Germany

2010

Artist in residence of BKA, Rome, Italy

2010

Upper Austrian Artist in residence for Paliano, Italy

2010

Art scholarship of the City of Vienna

2007

Abroad scholarship of Styrian Cultural Exchange Program for San Diego, California (USA)

2006

Support grant for modern fine arts by the Province of Styria,
Work Study Scholarship from the Province of Styria

2005

Neptune Water Award, main prize winner and winner of the Neptune Water Award culture prize for the interactive installation “image.acgt”

1997

Photographic support grant, City of Graz

1995

Styrian film support grant

1995

Styrian Cultural Initiative Award

1994

Styrian Award of Recognition in Photography

1994

Upper Austrian Art Talent Support Award

1994

Film support grant by the Province of Styria

1994

Urania Graz Photography Award

1992

Styrian film support grant

Essay
Publicum

Twentieth century art was branded by photography, but the history of 21st century media art will stand under the paradigm of the user, according to media theorist Peter Weibel (1). Digital media and the internet have redefined the relationship of the observer and the object. Now, this emancipated public should act as the programmer and producer, itself creating the content of exhibitions (2).The interactive participation opportunities created by electronic media also produced new presentation methods in the traditional museum field, both in real and in virtual space. In the modern “Expanded Museum (3)”, digital tools vastly broaden not only museum storage capacity, but also the visitor’s scope of action. On the other hand, criticism of the technological experiences hyped in the 1990s led to an increasingly heated discussion of “new exhibiting” (4) and even to a call for the “hour of objects” (5), by art historian Horst Bredekamp. However, both the concept of user art and the debate about museum presentation could lead one to suspect that the public and the exhibit have grown closer than ever.

In his media works, Joerg Auzinger shakes the amply laden tree of differentiated relationships between the observer and the exhibition object, from interactive installation to objects. By continually drawing the observer into interactive processes he creates artificial intersections between the public and the objects. Auzinger puts the emancipation of the public on par with the emancipation of the work itself. In a rebellious moment these oft-rehearsed expectations seem to take on an autoactive role. Concepts for shifting or reevaluating authorship in media art become subordinate to the democratic and experimental ordinance of the viewer/user and the exhibited piece. Within these visualized perception processes, visual cultural history and digital media history are kept separate, allowing them to recharge themselves as aesthetic and semantic souvenir pictures.In the simulated projection of Type: Output beyond Impression, a computer keyboard inside a massive display case can be manipulated via a real keyboard placed within the exhibit room. The keys of the virtually exhibited object move parallel to the manipulation of their material counterpart. Enshrined beneath heavy showcase glass within the setting of a historic museum space, the artificial keyboard demands symbolic significance.

The museum as the center of cultural identity and reflections about the history of digital media art seem to be superimposed upon each another. Not only the gold plating of the object hints at the media-critical commentaries of one of the most renowned pioneers of interactive art, Jeffrey Shaws and The Golden Calf of 1994, but also the irritating simple result of the virtual reality technology supporting the interactivity: real touch of the key = virtual key movement.In Void Screens, the action potential of the public is once again defined by the reminiscence of past media artworks. A Closed Circuit situation is created using Alpha Key Technology, something characteristic of the early interactive video installations in the 1970s – for instance Bruce Nauman’s Live-taped Video-Corredor that radically transformed the public into the content of the artwork. In Void Screens, one’s own image can be discovered as a transparent light reflection on the glass surface of a high display case in the projected museum space. In the virtual display, the interior of the display case is empty, and while the viewer observes his or her own image, the surrounding room begins to tell its story. The white-painted hard masonite slabs behind the reflective display window only partially shroud the domed walls of the 19th century museum building. These walls represent one of the most important paradigm shifts in exhibition history: when the white walls of the neutral White Cube slid into historicist museum spaces during the first half of the 20th century. The function of the showcase, namely to maintain the history of and to exhibit the objects within becomes a symbol manifestly redirected from the glass surface outward into the room and into the public.

By perceiving exhibits as topographies of historical constructs, Joerg Auzinger sets a general metaphor for the individual construction of reality, where what is observed is crossed with personal memories and expectations. “Who says that something is as it is? I plead for under- standing that these real and supposed facts are our own creation and invention,” (6) urges the cofounders of cybernetic science, Heinz von Foerster. For Joerg Auzinger, the process of viewing and using becomes an integral part of the work and “art arises through the observer” (7). The underlying precept of observant systems, modern cybernetics, is that feedback between communication elements of a (social) system is its own agent of change. An impulse-emanating relationship arises between the object and the observer at first sight.Auzinger also grapples the idea of competition between images and exterior reality constructions and individual memories. His film installations demonstrate feedback loops in historical and cultural memory constructions. The media ‘film’ is placed alongside the museum as a central repository of cultural identity. The installations mesh with the “Expanded Cinema” concept, and here too the film reaches into real space to draw the audience into the screenplay.The dual film installation Blind Spot incorporates the public into Alfred Hitchcock’s thriller “Rear Window” (1954), similar to in Void Screens. The object observed by the viewer, L.B. “Jeff” Jeffries, skulks at the window and suddenly looks back. The public is caught between the journalist and the blind-covered window opposite and sees itself in both projections. It appears reflected in the binoculars of the film protagonist and also hiding futilely behind the blinds. The work focuses upon the viewing of the viewer, indicating the activation of the images at the moment of viewing.

Switch Enlightenment projects a key scene of François Truffault’s 1966 science fiction classic “Fahrenheit 451”, in which the fireman assigned to burning books secretly reads a book for the first time. Via a light switch mounted in the real room, the light necessary to read, in the film, can be switched off. The source of light is metapher of the viewer’s interference. The monitor shows nothing but electronic white noise – information is erased, communication disrupted. Similar to his museum works, Auzinger sets visual signals that self-reflectively reference an intrinsic media history. The makeup of the interface between object/information and viewer/reader is not tested for its broadcast capacity or clarity of image, but instead merely questions hypothetically.In his newest works, such as Publicum or Trash Winnow, Auzinger examines the re-conversion of his interactive installations to analogue. Artworks like Void Screens and Blind Spot meet the action and interpretation potential of an “open artwork” head-on, putting the viewer into the predetermined role of (self-) observation. Trash Winnow, Auzinger’s homage to Marcel Duchamp’s Fresh Widow, puts the public’s possible expectations of a media installation at point zero. The photograph of a broke-open garden gate behind a real glass showcase – vestiges of media history and sensual denial – becomes a multiple reference to forms of interactive reality construction and the heterogeneous discussions they spark.

Rosemarie Burgstaller

(1) See: Weibel, Peter: User Art_Nutzerkunst, Telepolis, http://www.heise.de/tp/r4/artikel/26/26653/1.html, 2.12.2007.
(2) Ibid., YOU[ser]: Das Jahrhundert des Konsumenten, Exhibit in ZKM, Karlsruhe 2007–09.
(3) Hünnekens, Annette: Expanded Museum. Kulturelle Erinnerung und virtuelle Realitäten, Bielefeld 2002.
(4) Das neue Ausstellen, ed. Paolo Bianchi, Kunstforum International, Bd. 186, Ruppichteroth 2007.
(5) See: Im Reich der Dinge. Das Museum als Erkenntnisort, International Conference, May 6-8, 2004, Deutsches Hygiene-Museum, Dresden. See: Klein, Alexander: Das Wohnen bei den Dingen, in: Kunstforum International, a.a.O., 178.
(6) Foerster, Heinz von/ Pörksen, Bernhard: Wahrheit ist die Erwindung eines Lügners. Gespräche für Skeptiker, Heidelberg 2006, 25.
(7) Joerg Auzinger, Statement April 6, 2008.
Essay Deutsch PDF

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Published by Bucher GmbH & Co. Druck Verlag

Hardcover, 21 x 27.5 cm, 88 Pages
German/English
Essay by Rosemarie Burgstaller
ISBN: 978-3-902679-06-2
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Publications

KULT/UR/RÄUME
Maria Valentina Kravanja, Daniela Unger-Ullmann, Wenli Zhang, edition keiper,
ISBN: 9 783902 901576

Förderungspreis f. zeitgen. bildende Kunst, Christa Steinle (Ed.) Neue Galerie Graz am Landesmuseum Joanneum 2006,
ISBN 3-902241-21-7

medien.kunst.sammeln
Perspektiven einer Sammlung,
Katrin Bucher Trantow, Günther Holler-Schuster

Photo Month in Krakow, Tomasz Gutkowski (Ed.) Krakau 2006,
ISBN 83-921528-1-6

12th International Festival of Computer Arts, Narvica Bovcon, Ales Vaupotic (Ed.) Maribor, Ljubljana ISBN 961-6154-11-7

Pixxelpoint, 8th International New Media Art Festival
Nova Gorica/ Gorizia, Kulturni Dom Nova Gorica, Narvica Bovcon, Ales Vaupotic (Ed.), ISBN 236382976

Postmediale Kondition, Elisabeth Fiedler, Christa Steinle, Peter Weibel (Ed.) Neue Galerie Graz am Landesmuseum Joanneum 2005,
ISBN 3-902241-14-4

In The Line Of Flight, The Millenium Dialogue, 2nd Beijing International New Media Arts Exhibition and Symposium, Tsinghua University Press 2005, Lu Xiaobo, Zhang Ga (Eds.) Peking, ISBN 7-302-11244-4

The Chronofile-Society. Margit Rosen, Bruno Latour and Peter Weibel (Eds.): Making Things Public. Atmospheres of Democracy, MIT Press 2005, ISBN 0-262-12279-0

The Chrono-Files. From Time-Based Art to Database, Margit Rosen, Christian Schoen (Eds.) revolver 2003 ISBN 3-936919-12-7

Entgegen – ReligionGedächtnisKörper
Hatje Cantz, Gerhard Larcher, Johannes Rauchenberger, Alois Kölbl (Ed.)
ISBN 3-89322-332-0

photo_graz 06,
Graz 2006, Kulturvermittlung Steiermark (Ed.), Verlag der Kulturvermittlung Stmk

Moderne. Selbstmord der Kunst?
Peter Weibel, Christa Steinle, Gudrun Danzer (Ed.) Hatje Cantz,
ISBN 978-3-7757-3260-4

Bilder Nr. 145
Jörg Auzinger, Horst M. Jaritz. Fotogalerie Wien (ed.) Wien, 1998

Styrian Window
Bildende Kunst in der Steiermark 1970-1995, Christa Steinle/Alexandra Foitl (Ed.) Graz: Droschl 1996
ISBN 3-85420-396-9

Plazierung
Photographie am Retzhof (Ed.)
RSR-Gesellschaft-Wissenschaft-25/1998 ISBN 3-901096-24-2

Pekarna 44°34 ́N 15°38 ́E
Bretter Christian (Ed.) Ma- ribor o. J. Signature: III Pek 1

Grenzräume
Photographie am Retzhof (Ed.)
RSR-Gesellschaft-Wissenschaft – 23/1996

Gruppe ergo
sponsored by ERGO, Gruppe ERGO, rotor (Graz)

Urban Feelings – Urban Facts
Maribor, 1999 Forum Stadtpark, Kibela (Ed.)
Raum für Kunst, Anton Lederer (Ed.):

Day and Night Show
Künstlerhauspassage Wien

Analog
Gruppe 77(Ed.): J.Auzinger, C.Bretter, B.Steiner, Graz

Sterz. Zeitschrift für Literatur, Kunst und Kulturpolitik. „time exchange“, Klaus Kada (Ed.),1995
Datum – Seiten der Zeit, Lebensarten, Ausgabe 11- 12/02, Jänner 2006, Christian Bretter

Camera Austria International
Forum, Manfred Will- man/Christine Frisinghelli (Ed.)
ISBN 3-900508-22-4

Lichtungen
Zeitschrift für Literatur, Kunst und Zeitkri- tik, 71/XVIII.Jg, Markus Jaroschka (Ed.), Graz

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Design Works

The media artist Joerg Auzinger also designs and shapes identities for companies, brands and products and develops visual appearances.