Konferenz 2011 (European Conference on Traumatic Stress) - Großer
Festsaal Universität Wien
Exhibition during the 12th
European Conference on Traumatic
3-5 June 2011, Vienna
"In 1998, Martina
Gasser projects in a performance a
100-fold magnified finger print of a thumb tip onto herself, a camera
only witness. Like a camouflage this seemingly untreacherous evidence
symbol of individuality gives rise to formations that seemingly
Gassers face and body, plainly her whole identity is deformed."
Marlene Gölz, 2011
Martina Gasser presents a selection of her works, which deal with the
her identity, dissolution and damage. Some works are playing with
leaving space for free associations by the spectator.
The series "Labyr Marritime" from 1997, in which a labyrinth is
the body of the artist, strikes on first observation with its strict,
composition and aesthetic. The labyrinth without wrong tracks, but the
possible way to the center, describes a parable to life, death being
When watching the photographs longer and reading the complementary
title of the
particular series (e.g. centre/bull’s eye) the woman can suddenly be
a target through the eye of a sniper.
The photos and paintings "Dactyl Marritime" counteract the term of
individuality of one’s own unique fingerprint.
"In art, the equivalent to a
fingerprint is the distinctive brushstroke,
displaying the personality of the artist – however, searching for this
artist’s paintings is mostly in vain. Gasser projects her enlarged
banishing it onto a scrupulously sleek canvas, whereby she caricatures
seeming spontaneity, with which such a print is normally produced, and
evidence of artistic authorship."
Text: Marlene Gölz, 2011
In her works "St. Sebastion modern" from 2010/2011, the arrow-struck
beholds looks at the viewer with a blend of provocation, pride and
As in "Labyr marritime" the viewer finds him- or herself in the
position of a voyeur or
offender. In any case, one is on the other side.
Text: Martina Gasser 2011