Julius Pristauz, Khadija von Zinnenburg Carroll

For the fourth event of the Tuesday@Secession series we cordially invite you to an evening in the garden of the Secession. There will be contributions by Julius Pristauz and Khadija von Zinnenburg Carroll.

8 p.m. – Julius Pristauz

Julius Pristauz’s film BAD LIGHT presents a network of juxtapositions and, characterised by constant duality, appropriates different binary systems. It employs them as a means to illustrate perceptions around success and happiness as well as their ambivalence as social constructs. Another thematic focus lies on the formation of one‘s own character and interpersonal relationships, as well as community and support structures. The cast of the film and the production team consists exclusively of friends, who ultimately reflect and depict one‘s own identity.

His performance Not Scared Just Changing, particularly developed for Tuesday@Secession and in relation to the film, consists, in a similar manner, of individual short scenes. With a loose narrative architecture, the socially constructed concept of “strength” is discussed, and the absence of it negotiated. The performative appropriation of the space appears in contrast to the visible cracks in the Secession’s facade and its appearance, in particular the model panel of the fresco Reigen der Kranzträgerinnen by Koloman Moser. Yesterday and today collide, ambivalent social constructs fail in the face of inevitable changes throughout time. The screening and performance will be preceded by a DJ set by Paul Ebhart, who is also responsible for the sound in the short film.

Program

BAD LIGHT, 2022
MP4, 19:10′
Directed by Luna Mican and Julius Pristauz

Not Scared Just Changing, 2022
Performance
Directed by Julius Pristauz
Performed by Marie-Claire Gagnon, Franziska Klein, Minna Liebhart, Luna Mican, und Hannah Sussitz

10 p.m. – Khadija von Zinnenburg Carroll

Khadija von Zinnenburg Carroll’s long-term engagement in anticolonial movements has most recently turned to responses to the repatriations of ancestral belongings from European museums to stakeholder communities. For example, Quetzalpanecoatl, known asel Penacho de Moctezuma, a feather crown and famous Aztec headdress is currently on display at the World Museum Vienna and only one of many artifacts serving as source of vivid dispute regarding its rightful ownership and place of conservation.

In her mini film festival, Carroll will host a series of dialogues as part of a screening programme of her series of films about repatriation. She invited a group of artists and professionals, whom she has worked with on responses to the complex process of reparation with what she calls ‘new originals.’ Each of the invited participants will give a short introduction to their role in the film and will be available for questions afterwards.

Special guests include the anthropologist and provenance researcher Dr. Julia Binter, who joins us from Berlin’s Prussian Cultural Heritage Foundation as a key partner in a return to Namibia from Germany; artist Samson Ogiamien from Benin City in Nigeria, sculptor of Iyagbon’s Mask and central character in Carroll’s filmIyagbon’s Mirror; as well as Julian Reinisch, producer for Apex Film and part of a group of artist-activists that planned and executed a hack of the audio guides in the World Museum Vienna in January 2022 to promote the return of the crown of Moctezuma to Mexico. Von Zinnenburg Carroll collaborates with filmmakers Konstantin Kormann and Julian Reinisch from Apex Film, using the Secession before the event as a film set for new scenes, which will later become part of her film project Repatriates of which a preview will be screened during the evening.

Program

Repatriates Namibia, work in progress [rough cut], 2022
Directed by Khadija von Zinnenburg Carroll
Produced by Apex Film

Iyagbon’s Mirror, 2021
MP4, 7:25′
Directed by Khadija von Zinnenburg Carroll

Audio Guides of Truth, 2022
MP4, 5:00′
Directed by Julian Reinisch and Apex Film

Te Moana, 2019
MP4, 30:36′
Directed by Khadija von Zinnenburg Carroll

Tuesday@Secession

 

Biography 

Julius Pristauz

Julius Pristauz lives and works in Vienna. In addition to his work as an artist, he works as an independent curator and writer in the field of contemporary culture. Pristauz studied Transmedia Art at the University of Applied Arts in Vienna and Performance at the Faculty of Fine Arts, FaVU in Brno. Drawing from a variety of media and formats he repeatedly explores the construction and gender aspect of identities, as well as tensions between the private and the public sphere.

Most recently, Pristauz curated exhibitions at EXILE during the gallery festival Curated by, as well as at UA26 and the University Gallery at the University of Applied Arts in Heiligenkreuzerhof. The group exhibition SOMETHING IS BURNING, which he curates, will open at Kunsthalle Bratislava in September 2022. His performative works have been shown at Grazer Kunstverein and Belvedere 21, among others. For his artistic diploma, in which the short film BAD LIGHT was premiered, he received this year’s prize of the Kunsthalle Wien.

Khadija von Zinnenburg Carroll

Khadija von Zinnenburg Carroll is an Australian artist and historian, currently leading the project Repatriates: Artistic Research in Museums and Communities in the process of Repatriation from Europe. Her work has been shown internationally including the Venice, Marrakech, and Sharjah Biennales, ZKM Karlsruhe, Manifesta 13 in Marseille, Forum Wissen in Göttingen, TBA-21 Ocean Space in Venice, Taxispalais Kunsthalle Tirol in Innsbruck, Kunsthal Extra City in Antwerp, HKW in Berlin, Royal Museums Greenwich in London, Savvy Contemporary in Berlin, LUX in London, Chisenhale Gallery in London, SPACE in London, Project Art Centre Gallery in Dublin, St Kilda in Melbourne, and Casablanca Film Festivals.

She did her PhD at Harvard and is Professor at the Central European University Vienna and Honorary Professor and Chair of Global Art at the University of Birmingham. She is the author of the books Art in the Time of Colony (2014); The Importance of Being Anachronistic (2016), Botanical Drift (2017); Bordered Lives (2020), The Contested Crown (2022), Mit Fremden Federn (2022) and she is an editor of the journal Third Text.