Paula Marschalek

Relics - Wie aus einer anderen Welt

Daniela Trinkl hinterfragt in ihrer künstlerischen Praxis Themen der Ambiguität und des Rätselhaften und setzt sich intuitiv mit Materialien unserer Zeit auseinander. Fasziniert vom Objekthaften, dessen Zweck und Verwendung nicht unmittelbar erkennbar ist, entwickelt sie ihre skulpturalen Arbeiten. Diese sind von einer Vielschichtigkeit, einer Verwobenheit von Vergangenheit, Zukunft und Gegenwart geprägt und bieten Raum für eigene Assoziationen.

Geheimnisvoll schweben abstrakte Formen vor einem schwarzen Hintergrund, treten durch ihr buntes, künstlich anmutendes Erscheinungsbild prägnant hervor und referieren so auf eine vielleicht bereits vergangene, unwiederbringliche oder kommende, noch nicht besuchte Welt. Die Entscheidung des zeitlichen Verweises lässt sich nicht ohne Weiteres treffen, ob Vergangenheit oder in der fernen Zukunft liegend, spielt letzten Endes weniger eine Rolle als die unabdingbare Distanz zum Referenzpunkt, der in der gegenwärtigen Welt als fremd, ja gewissermaßen mystisch, anmutet. Diese zeitliche Dimension der Objekte lässt einen breiten Interpretationspielraum zu, so könnten diese zum Beispiel archäologische Funde sein, eine mögliche Verwendung in rituellen Praktiken finden oder obskure Symbole einer anderen Welt darstellen, aufgeladen mit Geschichte und Handlung. Wie schon der Titel „Relics“ suggeriert, sind es Relikte, die die Frage aufwerfen, was gewesen war und was gewesen sein wird.

Dies spiegelt sich auch in der Präsentationsform der Objekte wider. Die Künstlerin setzte sich hierfür eingehend mit Ausstellungstechniken auseinander und wählte schließlich eine Form, die im musealen Kontext, besonders in ethnographischen Institutionen, wie dem Weltmuseum Wien, Verwendung findet. So werden die 29 abstrakten, in ihrer Größe variierenden (max. 30 x 15 cm), zum Teil aus Verpackungsmaterial hergestellten Gegenstände auf Metallstifte vor einem dunklen Hintergrund fixiert, der als Kontrast zu der farblichen Vielfalt dient.Mit einer Gesamtgröße von 130 x 170 cm umfasst die Installation „Relics“ Objekte, die sich in Größe, Form, Farbe sowie Material unterscheiden. Bei der Herstellung einiger Formen greift Trinkl teils auf gesammeltes Verpackungsmaterial, das sie in ihrer Ästhetik, Textur und Haptik anspricht, zurück. Weiters verwendet sie so genannten Montage- oder Bauschaum, ein Material, das heutzutage vor allem im Bauwesen Einsatz findet. Sobald der Schaum austritt, entwickelt dieser ein eigenes Leben, lässt sich aber im trockenen Zustand gut zurechtschneiden und erinnert in seiner Porosität an Organisches. In einem weiteren Schritt versieht die Künstlerin die Formen mit Schnüren, zurechtgeschnittenen Müllsäcken sowie Tixo- oder Kreppklebebändern und lässt die so entstandenen Objekte zu Requisiten einer mystischen Welt werden. Mit diesen zeitgenössischen Materialien schafft Trinkl eine Verbindung und Verhaftung zum Hier und Jetzt. Die Abstraktion und Künstlichkeit der Objekte werden hierdurch unterstrichen und werfen die Frage der Symbolhaftigkeit sowie der Unterscheidung zwischen Realität und Fiktion auf.

Die Pluralität der montierten Objekte gibt dem Betrachtenden die Möglichkeit das Kunstwerk mannigfaltig zu deuten. Manche eröffnen durch ihr schwammartiges Erscheinungsbild vegetabile Assoziationen, andere wiederum lassen sich in ihrer Ausgestaltung in einem erotischen Kontext verorten. Vereinzelt werden eigene Motive aufgenommen, wie etwa Gedanken zur Metamorphose, die von einer Figur, die an einen vor kurzem entpuppten Schmetterling erinnert, spielerisch thematisiert wird.

Die Künstlerin sieht sich mit dem Material in eine Art Dialog treten, der Raum für Experimente zulässt sowie Faszination in ihr auslöst, und manifestiert durch die eingehende Beschäftigung, wie auch durch die Wiederholung in der Tätigkeit des Einwickelns, eine gewisse Mehrdeutigkeit. So testet sie Grenzen aus und öffnet einen Diskurs für weitere Auslegungen.

Außerdem entsteht durch das Einwickeln des Materials eine intransparente Schicht, die das Innenleben der Gegenstände umhüllt und versteckt. Der Kern der Sache ist nicht einsehbar und kann nicht ohne Weiteres identifiziert werden: er bleibt also fremd. Aus dieser Perspektive kristallisiert sich die Nähe der zeitlichen und materiellen Aspekte des Werks heraus, so verweisen sie auf ein uneinsichtiges, unzugängliches und obskures Inneres. Die in „Relics“ dargestellten Objekte bieten sich in ihrer Fremdheit als Relikte für ein kryptisches Moment an, das interpretativ von den Betrachtenden ausgelegt und nachgesetzt werden kann. Als Überbleibsel einer sowohl vergangenen oder kommenden Welt als auch in ihrer Materialität eröffnen die Gegenstände einerseits in ihrer archäologischen Distanz und andererseits materiellen Nähe zur Gegenwart einen Zugang auf die Fragestellungen, was gewesen war bzw. was gewesen sein wird in diesem Jetzt.

 
 

Maris Stella Liska

IN THE UNKNOWN LIES THE POTENTIAL OF FEELING

The Pignette seems to be animated matter, the tangible reality of an experience. Daniela Trinkl is inspired by chance finds, mostly technical devices, which tend to draw her focus as marginal phenomena in an urban, restless information field. It is not the conceptuality or functionality of the object that is the source for the artwork, but the thing discovered becomes the trigger for a vivid, momentary experience.

The 'animistic principle' for understanding the objects also lies in the material Daniela Trinkl works with: Stoneware. Like in an alchemical process, perception is transferred to the material used and (re)formed, and thereby transformed. The artist immerses herself in the soft clay, works with her hands, she shapes and forms spaces, visible and hidden. The movements of her own body are transferred to the material being worked with, while the artist follows the inherent laws of the material. In doing so, she enters into an interrelationship with the intuitively created object, the subject and the object merge.

The objects created in this way remain open, unnamable, abstract, able to expand in space in all directions. Starting from the individual parts, the tuber-like structures grow like a rhizome without claiming a central starting point. Module-like, the individual objects are connected by switching points, sometimes they inflate in the bulbous centres, almost causing the membrane to burst open, only to spill out again abruptly and flow quietly along. Even under the hard surface of the fired clay, vital forces seem to continue to work, giving the impression of rhythmic movement.

The Pignetten elude verbal interpretation, they seem to exist in an in-between space from where we experience them in a state of crucial indeterminacy: are they no longer or not yet present?

The artefacts captivate us because they elude a categorical quality, and at the same time this opens them up to another - an active - way of communicating with them. Even the name itself plays with our idea of an identity, because it questions its own function and remains suggestive. In the unknown lies the potential of feeling, the invisible becomes a mirror.

 

Agnes Deruma

ARTIST SPOTLIGHT: DANIELA TRINKL

Agnes Deruma talks with Daniela Trinkl about her project during her residency at PILOTENKUECHE Leipzig

To see full text, click  here.  

Daniela Trinkl is fascinated by boxes.  For the Viennese-based ceramicist, this interest extends to boxes of any kind, but is heightened by reliquary shrines. She is interested in science fiction, animism and bringing life to inanimate entities. Daniela not only finds the craftmanship of these objects remarkable, but also the spiritual value that people assign to them. She firmly believes that there is a 5th  incorporeal dimension that is present in every art piece, but is not yet directly observable.

In Daniela's PILOTENKUECHE atelier I find almost embryo like shaped objects.  They stand alone or are exhibited on the wall. And true to form, some can be found in liquid filled boxes, some submerged in a  synthetic pink hued silicone and others in milky epoxy resin. It almost looks like a laboratory of a modern-day alchemist, where these creatures will soon come to life.  

To give birth to these objects Daniela plays  with common natural materials such as clay and porcelain, as well as with man-made ones, bringing sci-fi aesthetics to the table. Contrary to reliquary shrines that carry memories from past lives, her creations might come from the future. One could say that they are living beings, but from a different world, perhaps like ambassadors of the 5th  dimension.

Her working approach is very organic, she starts by simply doing, thus inviting a flow of ideas and letting herself be guided and carried.  She also mentions that the shape of an object does not always come in a visual form, it is almost as she can feel it within herself.  It arrives from within, yet from somewhere outside. In her eyes, the artist functions almost as a medium, bringing something celestial to the world. In a way every art piece embodies an element, or a message hidden in a plain sight. 

Daniela stresses the importance of symbiosis between an art piece and its consumers. In fact, the interaction with the audience is the most interesting part for her, regardless of the reaction or an absence thereof.

Katja Schöwel

OPENING BOXES

ABOUT OPENING BOXES AND USING OURSELVES

“Opening Boxes” - Daniela Trinkl uses these two words to provide both the title for her series of works and the description of an action that is currently taking place. Boxes are opened. A universe of possibilities and thoughts about this picture opens up with.

Said works are combinations of objects made of different materials in associated cardboard boxes. In the respective combination of inside and outside, these form a "box object".

In her mind, the artist sends them on a journey. She imagines how they get to other people, unexpectedly, not ordered, how they simply appear there. As if the box objects had chosen their recipients themselves or as if they had even answered an unconscious, quiet call there. Like birds that have flown in, they are welcomed, viewed, perceived, opened, and finally observed and cared for.

In this imagined continuation, the box objects come to a mutual conclusion. At the same time, the fantasy of arriving at a recipient closes a circle on a formal level, because the material Daniela Trinkl uses for her work once came to her in a similar way. By post, delivered to your home, as a box and envelope with contents. The materials inside and outside of the box objects are similar, everything here is created from the accessories of shipping. Packaging and insulation solutions made of paper, construction foam or air cushions, corrugated cardboard and transparent adhesive tape are now taking shape, in a way that is more functional than ever - in a new form. Crumpled, trimmed, painted, or bundled. The new forms form units which, sorted in their own housing, are characterized by their sequence and repetition. Despite seriality, each of the forms insists on its individuality. The structure is the same, the difference is in the details. The massive occurrence in the form repetition makes it impossible to ignore or ignore its presence.

Sealed parcels and packages contain the haptic - visual experience of unpacking. They bring back memories of certain holidays, Christmas or birthdays and are related to certain feelings. These range from joy about what has been received, to curiosity about the possible content, to concentration at the moment when the distance is overcome in order to devote oneself to the inside of the packaged gift: the releasing tension at the moment of opening the box. This special mixture is reminiscent of childhood, when the unusual effect of receiving and handling such objects leaves a particularly strong impression.

The above-mentioned machinery of imagination with regard to possible contents in the face of packaged items usually ends when the cover falls, when the hitherto unknown comes to light. All ideas and possibly also wishes regarding the previously veiled inner life of the box are recognized and assigned. What lies ahead of us, inspires, likes or disappoints according to the fact whether it suits us, was desired, just right or not. The question of how it can be integrated into our everyday life is one of the decisive factors. It is different with Daniela Trinkl's “Opening Boxes”. The content brought into the reality of our experience eludes fundamental classifications.

The motif of the boxes, boxes and boxes occupies Daniela Trinkl. Here she sometimes finds parallel worlds that become sources of supply for her work. Reliquary shrines, for example, are such places. These present what is usually liked, that which is no longer in life, but which should not be forgotten either. Relics as dead material require handicrafts and decorations to highlight them among everyday dead material, to clarify and assert their extraordinary position in the world, which justifies their continued existence in life. The shrine, as the place intended for them, forms the actual framework, it serves the centering, which removes the reality in its interior from everyday life, in which it could otherwise easily get lost.

The same trick - here and there. Without knowing the rules of dealing with them, we encounter relics like “opening boxes” in a similar way. What is the epitome of what is worthy of admiration may become the epitome of bizarre in the eyes of the other. Beyond questions of faith and understanding, however, the covers and preparations make it unmistakably clear that one is dealing with something special with the objects. Reliquary shrines and “opening boxes” are united by the range and mix of feelings that they trigger. These lead to the presented being related with care and caution, even if the object of such an occasion cannot be understood. What is more, both have in common the ambivalence of feelings that lie between admiration and distance.

 

Uncategorized and foreign, the “opening boxes” create portioned uncertainties. You have to do with bundled, counted, space-filling elements put in their cardboard house, which make us at a loss, as they raise a lot of questions and fears. First of all, the question of what you are actually dealing with. Are they things or do they contain life? Then the apparent uniformity inside each box opens up the question of its beginning and its end. The box objects give the impression of presenting container sizes to a potentially much larger population in an unknown location. Viewed in this way, the supposed offshoot in front of us raises questions: Will it expand? What are these insecurities up to? Are you eager to expand, to flood the space beyond the narrow box as soon as it is open?  After all, the motif of opening unfamiliar containers inquisitively is already known from mythology. For example, no less escaping from Pandora's box than all the evils in the world combined. Uncatchable, final. People are curious, it seems like an impossible thing to keep boxes locked. The opening boxes also count on this curiosity.

Even if the boxes and their contents do not take over the world, they take over our thinking. They trigger it, again and again, whenever we meet them, see them again - and these food for thought have the potential to push us out of everyday life.  Because even beyond daring interpretations, it can be clearly stated that what is present here, through its withdrawal and simultaneous imposition, is alien and close to us at the same time. In order to solve the uncertainty in the face of the unknown, a human mechanism is usually used that is familiar to us from observing clouds: What is presented is related to the known, to which it triggers associations. It is compared, trimmed and incorporated. Just as the clouds show us whole hordes of earthly known shapes in the long run, the viewer grid also finds rich yield in the contents of the boxes. The overlap here works best with all sorts of organic things. With roots and shoots, eggs and cocoons that open up the association framework for possible expansion. And yet, what is in the boxes, on closer inspection, nothing of it remains. Every frame of reference is unstable, nobody sustains, the work is enough in itself.

 

The way Daniela Trinkl imagines how her work is conveyed to potential recipients is also of particular importance. It corresponds to the gesture of giving, which is complex. Receiving gifts superficially spreads curiosity, thrills and a sense of wellbeing. But there is another side on which receiving gifts is also connected with a task. What is given is something other has intended for us, something given into our hands. As such, it behaves differently than self-acquired objects. Everyone knows the responsibility that can be agonizing, especially with less successful gifts, for example when we share our life with something that has never been loved or given. The idea of receiving “opening boxes” - inexplicably and surprisingly - opens up imagined scenarios of a very special kind in which many factors come together. In addition to the impossibility of integrating them functionally into everyday life, there is also an appeal for responsibility triggered by receiving them as a gift. In fact, all boxes contain objects that call out for care. From this point of view, the boxes themselves become breeding grounds, nests, and abdominal cavities. Because the eggs, cocoons and growing shoots refer to their supposedly current status in the process of becoming, to a process in the direction of future being. The fragility of the objects also makes it clear that caution must be exercised when handling them. How would they get along outside of their shell and outside of the shelter we opened? What has fueled fears of takeover scenarios above, tips over when people are made aware of the need for protection - “opening boxes” become protégés.

 

A recurring theme within Daniela Trinkl's work is animism. An ancient state of human history, which Western Europeans thought to have shelved at the latest with the Enlightenment, it is still deeply rooted in us as a way of thinking and as a principle familiar from childhood. In the animistic worldview, a multitude of the boundaries that dominate our familiar world of imagination are missing. Beyond the visible, there are connections here. Between things and living beings, states and categories. Living objects, thinking and feeling can have an effect, individuals communicate with one another even over great distances and without technical aids. The animistic is a connected world in which no classifications form strict units of everything that exists side by side. The opening of the “opening boxes” makes it clear: Animistic thinking is not entirely alien to us, its path into our consciousness does not have to overcome too great a distance. The box objects arouse animistic associations, form interfaces between our everyday life, which is structured by reason and logic, and their own form of existence: their non-categorizable being.

 

The described conglomerate of mixed emotions, in which conventions also apply, secures the boxes their place in our lives. As disruptive factors, these now trigger trains of thought whenever one looks at them, which are to be regarded as downright subversive. Because this is about nothing less than the question of the justification of existence in itself. Does this really need meaning and purpose as legitimation? The nesting objects show us different things. The mere fact of their existence initiates a behavior towards them that connects with parasitically acquired, unconditional care as a consequence of the pure preservation of the boxes and their awareness in the recipient. And so they are there, the “opening boxes” and they stay; stubbornly assert their own space, which has come into contact with ours, but always remains a closed one. The more so, the more we become aware of the different conditions of their and our existence.

With her box objects, Daniela Trinkl exposes something fragile and bizarre that seems to come from incomprehensible contexts. These objects insist on their unconditional existence - and ultimately refer to our own.