RADICAL BUSTS. Room 2020-21 . MMMuseum Kartause Aggsbach
It is a theatrical act only when I can visualize that person it becomes possible to sketch to shape – to write them the poems and busts were created after I was hit by their life story I became a voice inside their spirit so – how to find words for great lives lived greatly I did not have any pre-expectations I was only engaged with their reflections in the process I was always Self-damaged I carried their persona in me through their Self I come closer to You babbling speech and forms of foreignness false or right – in You – I – then somehow all were similar to each other
RADICAL BUSTS: 2017-2021 / Gips, Gold-Varnish / Louise Burgeois,Mary Shelley,Maria Montessori,Calamity Jane,Harriet Tubman,Mileva Mari´c Einstein,Niki de Saint Phalle,Baroness ELSA Freytag von Loringhoven,Dorothee Viehmann,Indira Gandhi,Olympe de Goughe,Diane Arbus,Simone de Beauvoir,Zenobia von Palmyra,Wilma Mankiller,Nefretete.2017
RADICAL BUSTS: 2013-2017 / Gips, Gold-Varnish / Marie Jahoda, Maria Lassnig,Latife Ussaki,Maria Callas,Meret Oppenheim,Mary Woodstonecraft,Maria Gaetana Agnesi,Susan Sontag,Maria Magdalena Sarah Baartman,Virginia Woolf,Marie Curie,Maria Sibylla Merian,Sylvia Plath,Sappho,Päpstin Johanna/Pope Joan
RADICAL BUSTS . collection 2012-2021 / Gips, Gold-Varnish / Frida Kahlo,Gertrude Stein,Eva Hesse,Camille Claudel.Ana Mendieta,Ada Lovelace,Hannah Arendt,Ingeborg Bachmann,Hypathia,Berta von Suttner,Hildegard von Bingen,Hatschepsut,Lise Meitner,Janis Joplin,Helene von Druskowitz,Josephine Baker.
RADICAL BUSTS by Marianne Maderna . A cultural project of the 650th Anniversary Jubilee of the University of Vienna March 2 – April 25, 2015. 36 Sculptural Portraits of significant woman displayed alongside the all male busts in the Arcaded Courtyard of the University of Vienna . Curated by : Maia Damianovic. It is a cultural project within the “Gender Justice Focus” supported byt he Gender Research Office . Foto: Sascha Osaka
GIVING BIRTH TO FEMININE FACES
If for many masculine thinkers or artists, face is pre sumed to represent the supra-sensitive part of the individual, instead Marianne Maderna’s sculptures express a pure sensitivity. however, this does not seem to be a secondary state in comparison with spirituality, rather it raises sensitivity at a spiritual level. face itself becomes flesh while expressing its transcendental potential. Face is, in Marianne Maderna’s busts, a word of the soul, but a soul that still remains breath and touch, and is not the production of a language that aims to separate body and spirit. As such, the face is mould in a material, which evokes natural and tactile matter. The features barely emerge from what looks like clay, as if they come into flower starting from earth, and they are not the result of the imposition of prefigured forms on a supposedly inanimate matter. The female body just begins blossoming into a face, in which mouth, above all lips, and the facial expression are telling, but not yet eyes, often closed, void of expression or staring, wide open, into space or at the invisible.
In most works of art, painted or sculpted by men but also women, face, especially eyes, are lacking —whether a face lighted by sight is left to the man, the only one who can look, whether modesty prevents the woman from unveiling them because they reveal much more than her sex itself. It also happens that face appears, but hidden by makeup, dark glasses, or other tricks, behind which the woman conceals herself waiting until she acquires a face corresponding to the one she is, a face that becomes visible, but in which the invisible of an interiority, that she agrees to show and share with the other(s), appears. The face, then, remains flesh, but it both expresses and also holds back more than the flesh of the body, of which it gathers the perceptions, the messages, the multiple telling.
Marianne Maderna endeavors to let the faces of women arise, she helps them to come out from a long darkness, shadow or sleep, without subjecting them to the portraying standards or whatever rules of representation of a presupposed truth. It matters little that she really saw or merely imagined the women whose she sculpted the face. her great merit is that she attempts to give to women a face, which says their flesh without remaining immersed in a mere immanence.
ADA LOVELACE ,….. aber – C.Babbage’s Maschine blieb stumm – UND: – Ada hat getan – Sie erfand deren Sprache Die erste.Computersprache der Welt
Collection: NÖ Landesmuseum
GERTRUDE STEIN….Cesarina – Cesarone – Cannail – O Leone – Tableaux – O Rhone Matisse – O Persone Duchamp – Facone Hemmingway’s – Pepperone GERTRUDE STEIN Stein-DADA-OderoneFaçonnéPepperoneSanctione MuseCeasarine – FE-MALE – Janusina….
Collection: NÖ Landesmuseum
BARONESS ELSA Freytag von Loringhoven …..Arsenomorphic-Ready-made- poetricess Androgynius – Genius Dominatrix de DADA-Essentiell Nosatisfaction-Sex-WanTress A-making-mischief BARONESS -Tomatoe-soup before War-Hol-ed auf den Wangen – Unverkäuflich- American Flag – Non-Stella-ed´Vogelbekäfigtes Samariter-Selbst – Vor-Magritt´sche-Nichtgeleinwandete with five MUTT – ihre Köter – UND: “my ars” – Duchamp “shit-mutt” – SIE hatte 5 – scatalogic-jokes “as presents to M’ars” HE loved it – myLoveMarcel
Collection: NÖ Landesmuseum
HEDY LAMARR … … als Sex -Symbol im Spind Nymphomanin für MAN “…I am Tondelayo…” Erfinderin – Inventress „DIE Torpedo-Abwehr“ – gegen Hitler -in Parallelllebensphysik das frequency-hopping – FÜR: Patent-Ignoranz – UND: Radio – Internet – GPSRadio – Internet – GPS W-Lan – Handy – heute . ….Die Diva-Irgendwo in Warhol´s mobbing Drag-Queen gestrandet… ….Drug-Alco-penetrierte-Asche -verstreut am Cobenzl – Am Himmel
Foto: Heri Witte