( This project - a social art work in progress - will be presented in may 2001 to the World Bank)
THE GOLDEN BRIDGE
(T.A.06400 -"1818" Minenfeld # 18)
World Bank, Washington D. C.
Our Dream, A World Free of Poverty
If we act now with realism and foresight,
if we show courage,
if we think globally and
allocate our resources accordingly,
we can give our children a
more peaceful and equitable world.
One where suffering will be reduced.
Where children everywhere
Will have a sense of hope.
This is not just a dream.
It is our responsibility.
JAMES D. WOLFENSON
The aim which association ARTstation and the artists Johannes Angerbauer and Werner Dornik have set themselves with this project, is to reduce suffering
"THE GOLDEN BRIDGE" supports the Leprosy Aid Project of the Women's Indian Association
People with leprosy in South India are given the chance to build up their own free-lance business with interest-free credit, saving them and their children from a life of begging.
A person with leprosy is given the chance to become integrated in society.
This social concern is conveyed to a broad public through action, exhibitions, a catalogue, a film documentation, and intensive media work.
THE GOLDEN BRIDGE REALIZES THE SOCIAL RESPONSIBILITY OF ART
The bridge in the entrance hall of the World Bank Washington D.C. was discovered by Christopher Sheldon and found to be an ideal place for this project.
THE FIELD OF ACTION LEADING ACROSS THE WATER BECOMES A PLACE OVER WHICH SOCIAL ENCOUNTERS AND GLOBAL AID WILL FLOW
The action and the installation
The golden "Minefield T.A.06400 will be installed in front of, on and after the bridge.
An accompanying exhibition will inform visitors on the social aim of the project.
182 gold-leaf-covered picture panels will conceal photo-collages.
People walking across will leave their footprints on the gold panels, consciously and unconsciously, over a period of 4 weeks.
Gold will be removed and given back to the earth through this process.
The picture images will be partially laid free.
The works completed in this way will be preserved and presented in the World Bank, Washington D.C.
The exhibition will then wander through the U.S.A., Europe, and India.
The "Minefield" is a term Angerbauer used in 1994 to characterize his gold-leaf covered floor installations.
The Minefields combine the auspicious value of gold-mines with those of explosive land-mines.
This ambivalence of values is transformed in order to linder human suffering.
The central Minefield, comprising 182 single goldmines, will be installed in the middle part of the golden bridge where the transverse strengths meet.
The Environmentfield will spread from the middle part out to the perimeters of the bridge.
91 diptychs, whose single panels are conceived in U.S. measurements with 3 different formats, relate again to the member states and are to symbolise the river of the giving flowing to those in need.
"The Environment evolved as a term for the spatial relicts of a happening. Whilst Segal makes one aware of those normally disregarded every day moments which actually fill ones life, one encounters the provocative environment in the "Tableaux" by Edward Kienholz, which combines completely scratched and dirty objects with pointed anecdotes, hinting at the tragedy of stunted social behaviour caused by compulsive consumation."
(Out of:" From anti-art to zero", Karin Thomas Dumonts mini lexicon on art of the 20 century)
THE NUMBER OF MINES RELATES TO THE 182 MEMBER STATES OF THE INTERNATIONAL BANK FOR RECONSTRUCTION AND DEVELOPMENT (IBRD)
The straight geometrical collages show stamp-prints from U.S. dollar note segments found by Angerbauer, and photographs of India by Werner Dornik.
Conception of energyfields, which unify the material and immaterial values.
The photographs Dornik uses in the collages come from a remote and isolated part of India.
They combine traces showing a life full of suffering, together with the radiance of pure humanity.
In this way many of the photographed children, beggars, monks and lepers carry the hidden rhythm of graceful modesty.
This silent rhythm is dictated not by a given codex, but by the flow of everyday life.
This rhythm unifies the purity of a glance with the ritual of a gesture, and is for Dornik the central theme and aim of this photographic work.
IT HAS TO BE LIKE A SHARP KNIFE OR A WEAPON IN ORDER TO PREVENT SUCH MISERABLE CONDITIONS, INJUSTICES, VIOLATIONS OF HUMAN RIGHTS OR WARS, PICASSO ONCE SAID OF ART.
The picture images are transferred onto acrylic glass with a silk-screen process and then completely covered in gold-leaf. Two ways of viewing are possible.
Looking at the traces in gold and through to the parts of the images laid free of gold.
One sees through to the traces of gold through the lighter parts of the screen print.
The fruit of SILENCE is Prayer
The fruit of PRAYER is Faith
The fruit of FAITH is Love
The fruit of LOVE is Service
The fruit of SERVICE is Peace
Gold Gold Gold Gold Gold Gold Gold Gold Gold Gold
Gold element nr. 79 Gold is washed out of rivers Gold stands for purity,solidity Gold signalises stability of values Gold is the auratic, the most precious Gold is symbol of power, "Those who have gold make the rules Gold adapts itself to the commercial interests of society Gold fulfils societys ideal and material need for decoration Gold embodies the incomprehensible, non-representational Gold enhancing the halos of icons and saints Gold on the domes of temples and churches Gold on the statues of gods and saints Gold the sweat of the Incas sun Gold and the work of the alchemists Gold and the Golden Calf Gold and the Golden Fleece Gold the symbol for time Gold and its everlasting splendour Gold an addition to the grave for primitive cultures Gold the symbol of love, a wedding ring Gold and the metaphor from the Golden Age Gold the fuel for the historic journeys of the world discoverers Gold lies in the cellars of the state banks as gold bars Gold and the gold standard of the world economy Gold in Dagobert Ducks vault Gold security of the gold-mines Gold is minted and hoarded Gold for the medals of the winners Gold goal for the best sporting achievements Gold on the visors of astronauts Gold on the plaque of the space-probe pioneer Gold in genetic technology, as projectile of the genetic canon Gold in nano-technology, as material for nano-wires Gold of the atomic clusters in the concept of the smallest possible switch Gold the auridurate, containing both negatively and positively charged ions Gold the main threads, the "bonds" of the computer processors Gold for the insignia of emperors and kings Gold for medals and awards Gold as a colour in advertising Gold a medicine against arthritis and cancer Gold symbolises the striving for power and possession Gold and the gold-greed of the goldrushes Gold has made history Gold changes its form Gold becomes fractured gold, constantly in a cycle of renewal Gold affiniating and refining is the oldest recycling process of humanity Gold and mercury becomes a form of gold-amalgam Gold is drawn out of the earth with cyanide Gold becomes a deadly poison in rivers Gold brought suffering and death to the primitive people Gold I gave for iron a transformation into war material Gold broken out of the jaws of murdered concentration-camp prisonersbecame sacrificial gold Gold robbed, remelted and remoulded into new forms becomes stolen gold Gold torn from the victims of the Nazi regime became Nazi gold Gold sewn into the seams of clothes becomes gold on the run Gold is pervaded by the ambivalence of its values
Gold is bound into the social art process
Gold loses its dividing meanings
Gold becomes an essential element of a picture-panel installation
Gold through being walked on is freed of material and extended conceptually
Gold becomes superior gold and is given back to the earth as a peace offering
Gold gains a higher value in the completed works
Gold is used in a border-crossing way, to ease human suffering
GOLD BECOMES SOCIAL GOLD
It was the "coincidental" encounters which gave the GOLDEN BRIDGE its effective structural core.
Terese Egger, President of the Association ARTstation, got to know Johannes Angerbauer in 1993 during a social art project organized by him.
Christopher Sheldon, now Vicepresident of ARTstation , was in Austria in spring 1999 and heard about the artist who was working with gold. He was very interested in meeting him, because he was working with Placer Dome at that time, one of the most important goldmining companies of the world. Johannes Angerbauer and Christopher Sheldon talked about "green gold", which has influenced his work greatly since then.
Theresa Egger was very impressed by Johannes Angerbauers work with social gold and exhibitions and projects in her gallery in Austria as well as projects with ARTstation in the USA and in Australia followed. ARTstation then had the idea of working with gold in the World Bank, where Christopher Sheldon is now working.
Enthusiastic about Christopher Sheldons idea of the Golden Bridge, Angerbauer then met the multi-media artist Werner Dornik "by chance" in an art gallery-lift.
Dornik, who has been working for over 20 years with art projects against the leprosy in India, was equally enthusiastic about the basic idea of the GOLDEN BRIDGE. Together with Angerbauer he conceived the further social and form-giving content, which should now find its completion through helping leprous people and through promoting the awareness of social contexts to the participating and non-participating public.
THOSE WHO FEEL THE DIVINE SPARKS OF ARTISTIC ASPIRATION, IMMEDIATELY TAKE ON THE RESPONSIBILITY, OF NOT WASTING THIS TALENT, BUT LETTING IT GROW, IN ORDER TO USE IT IN THE SERVICE OF OUR FELLOW MEN AND THE WHOLE OF HUMANITY.
From the "Letter to the artists" from J. Paul II.
Minefield # 18
AS THE FIELD OF ACTION FOR ENCOUNTERS
Leprosy Rehabilitation Project in Tamil Nadu
Women's Indian Association (WIA)
Background Stigma and poverty dog leprosy affected people even after cure, isolating them from the economic and social dynamics of mainstream life. Being ostracized by society, they tend to live in isolated colonies or "clusters" as a homogenous group, earning irregular livelihoods by begging, or surviving with government handouts, living on the dole as it were. Encouraged by a project experience in Shahdara, a leprosy colony near New Delhi, which showed that it was indeed possible to successfully rehabilitate such handicapped persons to become productive members of society, the WIA (Womens Indian Association), the Chennai Branch of All India Womens Conference (AIWC), initiated a new five-year project for leprosy affected persons and their families in the Tamil Nadu region. The project is financially supported by IWA for a period of five years. The project aims to provide beneficiaries with viable income generating opportunities, thus weaning them away from begging. The project covers 8500 persons in Tamil Nadu, 3000 of whom are in Government Rehabilitation Homes (will be referred to simply as "Homes", henceforth) and 5500 persons of whom are located in 40 colonies spread throughout Tamil Nadu.
Project Activities Income generating Activities (IGA) differ in the Homes and colonies. In the Homes, the focus is on agriculture and allied activities, whereas the focus in the colonies is on micro-credit for self-employed persons.
Homes : All the Homes have cultivable land ranging from 5 to 40 acres, some of which had become degraded through disuse over the past 2 to 3 decades. The intention of the project was to provide a sound agricultural infrastructure (land reclamation, land development, irrigation, fencing, water resource management etc) so that this valuable resource already available to all the Homes could be utilized for the benefit of the Home inmates. A total sum of Rs.24.7 lakh rupees has been spent by the project on agricultural activities (mainly for building up the requisite infrastructure) in the Homes, so far. Besides providing infrastructure, the project has provided technical know-how and training to beneficiaries in the Homes so that they can independently carry on with their IGAs (i.e., agriculture using a judicious mix of short, medium and long term crops; horticulture, pisciculture, dairying, goat rearing etc) over the long term. Welfare committees, the members of which are Home beneficiaries themselves, have been formed so that beneficiaries can independently manage these processes over the long term, without the assistance of project staff. Corpus Funds have been established for each Home so that IGAs can be financially supported over the long term. 10 percent of farm income is regularly contributed to the Corpus Fund, to keep it replenished. Vegetables cultivated on this land are sold to the Administration of the Homes to be used for cooking the inmates food, so that Home inmates may benefit nutritionally. Similar tie-ups have been arranged with the dairying facilities started by the Project.
Colonies : Project activities in the colonies focus on providing micro-credit facilities to qualified persons. Based on the principle that anything given free is not properly valued, the project does not give out grants, but rather, interest free loans, typically repayable in 10 monthly installments. Moreover, having to take the responsibility for repaying the loans forces beneficiaries to move away from the on-the-dole syndrome and mindsets. The repayment amounts from beneficiaries is recycled straight back into a revolving fund, from which further loans can be made. Loan amounts typically range from Rs.1000 to Rs.5000; however, in exceptional cases, amounts up to Rs.45,000 have been granted. Market information, skills and aptitudes of the beneficiaries are considered when granting a loan. Welfare Committees, comprising of residents of the colonies themselves, have been formed to aid in the loan processing procedures and have been trained by project staff to function independently over the long term, even after the projects official closure. A highlight of the projects success is that after two and a half years of intensive training, the welfare committees of the colonies are already functioning independently; monitoring IGAs on their own, and managing financial transactions using a "colony welfare committee revolving fund" that has been set up for each colony.
Most of the occupations which the beneficiaries take up fall in the category of petty trade. Being successful in their trades has given beneficiaries self-confidence and dignity. The formation of self-help groups (including those for women) has proved to be a general mechanism of support for beneficiaries, besides being an instrument for members to pool their resources for productive purposes. The project has helped qualified beneficiaries to open bank accounts and has encouraged the habit of saving a proportion of their incomes.
Future Plans and Funding RequirementsThere are 40 such colonies throughout Tamil Nadu. The WIA- project is currently able to help only 27 of them because of funding limitations. Much more funds are needed so that the program can be implemented in all the colonies. One funding option is the "colony adoption" program through which a colony could be adopted by a donor with a donation of Rs.2 lakhs, which is the estimated amount for undertaking activities such as those described above.
The children of leprosy affected persons are disadvantaged due to the conditions of poverty and stigma that they live in. It is proposed to create a separate fund to support the higher education of those children. Loans and scholarships could thus be given for collegiate education, for taking professional courses and for vocational training.
Colony residents have identified the requirement for better housing as an urgent basic need. Their flimsy huts are particularly inadequate during the monsoon season; in fact, some residents claim that they are better off outdoors without shelter rather indoors. Repeated expenditure is also incurred by them because of frequent repairs. The project hopes to collect enough funds to build 2000 houses in the various colonies over a period of time. Additional funds are also needed to help sustain the agricultural activities in the Homes over a long period.
Please note: Donations to the WIA are eligible for Sec. 80(G) deduction under Income Tax Act.
Contact person: Mrs.Padma Venkataraman, 3/345, AGS Colony Beach Layout, Kottivakkam, Chennai 41, India. Phones: 4423671, 4423655. Phone/fax: 4423760
Course of events
1. OK from the World Bank (Date for installation, presentation and sponsorship)
2. Detailed project description and financial plan
3. Marketing- and media-plan, invitation of sponsors
4. Creative work beginning about 6 months after OK
5. Info broschure and press folder
6. Installation of object panels and informative exhibition in the World Bank
7. Project-opening period = 4 weeks
8. Dismantling installation and conservation
9. Completion of catalogue
10. Opening of exhibition in the World Bank Washington D.C.
11. Possibility of a wandering exhibition through the USA, Europe, India,
12. branches of the World Bank, national state galleries, museums etc.
13. Film documentation and evaluation of the project
14. World Bank buys the whole core-field with 182 works for the member states and 91 diptych-environmentfields.
15. The exhibition is offered to international museums and exhibition halls
1. Detailed project description for public and private sponsors and exhibition halls/galleries (after OK from World Bank), internet/print
2. Press folder for international and regional print-, radio- and tv- media, 3 months beforehand, internet/print
3. Info broschure after opening-action in the World Bank, for visitors and those interested
4. Catalogue book with foreword by James D. Wolfenson containing texts on social art. Documents the installation, the action, the making of the objects, the completed works and a detailed description of the funded aid project and its sponsors. Hardcover, English-German, 5 colours, 160 pages
5. Video documentation of the whole project
6. Total evaluation documentation
7. The editions are determined by the fixed extent of the project
Johannes Angerbauer - Social Art in Gold
1958 born in Steyr, Austria, son of Professor /metal sculptor Johann Angerbauer (+1977) and Gertrude (+1985)
1972-76 Technical College for Beltmakers and Gold- and Silversmiths, Steyr
1977-82 University of Art, Linz (Metal Institute from prof. Helmut Gsöllpointner,
Sculpture Institute from prof. Erwin Reiter, recd MA diploma in Sculpture
Sculpture Seminar, Gusen, (directed by Gottfried Höllwarth)
1982 Civilian Service, Hartheim Institute for sverely mentally handicapped children
1983-85 Takeover and operation of parental goldsmith studio
1987-91 Pseudonym: "Johannes Goldhoff"
since 1989 "T. A. - Tellaura Anachtonismos (The Return of Gold to the Earth)"
since 1996 Qualified "Au fzugsw art"
Johannes Angerbauer, A-4400 Steyr, Pachergasse 9, Tel.: ++43-7252-45126, Fax: ++43-7252-45601
1993 "Gold Medal of Honour" by the Vienna Künstlerhaus, for "T.A.01793"
1999 1st Award in the art competition "Hommage an das Margaretenfenster", for "T.A.05699"
Participation in international art fairs:
>Kunst94< (Minefield #2), Zürich, Switzerland
>Arte Fiera95< (Single Goldmine), Bologna, Italy
>Kunst95< (Minefield #6), Zürich, Switzerland
>Wien Kunst95<, Vienna, Austria
>Arte Fiera96< Bologna, Italy
>ART ATHINA 7'99< (Minefield #14), Athens, Greece
>Arte Fiera01< (Environment), Bologna, Italy
|1989||T.A.0189 Performance, Synergy Object, Notary's Office, Enns, Austria|
|T.A.02b89 Stationing of the 1st. Transformer, Dead Sea, Israel|
|T.A.0389 02. Transformer, "Denk Mal" Pfarrgasse, Steyr, Austria|
|T.A.0489 03. Transformer, Vatican, Rome, Italy|
|T.A.0589 Performance, Synergy Object, Notary's Office, Enns, Austria|
|T.A.0689 Performance, Synergy Object, Notary's Office, Enns, Austria|
|T.A.0789 Performance, Synergy Object, Notary's Office, Enns, Austria|
|1990||T.A.0890 04.Transformer, Ten Thousend Islands, Florida, USA|
|T.A.0990 05.Transformer, Feuersee / Daimlerbrücke / Goldberg, Stuttgart, Germany|
|1991||T.A.01091 Performance "GOLFGOLD / ZEITGOLD" Pohlhammer Gallery Steyr, Austria|
|T.A.01191 Environment - Posthof Gallery Linz, Austria|
|T.A.01291 06.Transformer, Notary's Office, Enns, Austria|
|T.A.01391 07.Transformer, Singular Event: Confluence of the rivers Enns and Steyr|
|1992||T.A.01492 08.Transformer, Toplitzsee (Lake Toplitz), Steiermark, Austria|
|T.A.01592 09.Transformer, 3 Stations, Steyr, Austria|
|1993||T.A.01693 10.Transformer, Galata Bridge / Hagia Sophia / Üsküdar, Istanbul, Turkey|
|T.A.01793 Environment -Künstlerhaus Gallery, (recd "Gold Medal of Honour"), Vienna|
|T.A.01893 11.Transformer, Singular Event: St. Julienstraße 12, Salzburg, Austria|
|1994||T.A.01994 Environment: Kulturhof Gallery Weistrach, Lower Austria|
|T.A.02094 Environment - Pohlhammer Gallery (Vereinsdruckerei), Steyr, Austria|
|T.A.02194 Minefield #1 -Schloß Gallery, Steyr, Austria|
|T.A.02294 Minefield #2 -"Kunst94" (Art94) Zürich, Switzerland|
|1995||T.A.02395 Singular Mine - "Arte Fiera95", Bologna, Italy|
|T.A.02495 12.Transformer, Private Garden Nr. 27, Garsten, Austria|
|T.A.02595 Environment - "...not yet covered with earth", City Hall Passage, Steyr, Austria|
|T.A.02695 Minefield #3 - Kulturhof Gallery, Kulturhof, Weistrach, Austria|
|T.A.02795 Environment - "Fest der Begegnung", Steyr, Austria|
|T.A.02895 Minefield #4 - Pohlhammer Gallery (Museum Arbeitswelt) Steyr, Austria|
|T.A.02995 Environment - Jodschwefelbad, Bad Goisern, Austria|
|T.A.03095 Minefield #5 - for "Zellkern" Cancer Fund, Austrian Press Club, Linz, Austria|
|T.A.03195 Minefield #6 - Entrance Treshold for "Kunst95" (Art95) Zürich, Switzerland|
|T.A.03295 13.Transformer, Latrán, Ceský Krumlov, Czech Republic|
|1996||T.A.03396 a,b Minefield #7 - Environment - FAZAT Steyr, Austria|
|T.A.03496 Minefield #8 - Environment - BV Gallery, Ursulinenhof Linz, Austria|
|T.A.03596 Environment - Steinwendlehner/Rubenzucker, Rohr, Austria|
|T.A.03696 a,b Minefield #9 - Brauhaus and Stadtschmiede Galleries, Freistadt, Austria|
|T.A.03796 a,b,c,d,e,f,g Minefields #10 - 7 AIDS-Help Centres in 7 capital cities, Austria|
|T.A.03896 14.Transformer, - Highway A7/E55 - Exit27, Austria|
|T.A.03996 a,b,c Minefields #11 - Upper Austrian Women's Shelters Linz, Wels, Steyr, Austria|
|I - Environment -"CASTIRONBIER", corner Green & Broome Sts, N.Y.C., USA|
|II - Environment - "EISENSTATT", City Buslines, Steyr, Austria|
|III - Environment - "BIERSTATT",19 locations, Freistadt, Austria|
|T.A.04196 Minefields #12 - "Artists & Children, 4-day event, LKH Hospital, Steyr, Austria|
|T.A.04296 15.Transformer, "Hommage á Yves Klein", Seine riverbank, Paris, France|
|1997||T.A.04397 Environment - "Zeitabstreifer", Mursch-Edelmayr, Sierning, Austria|
|T.A.04497 16.Transformer, Mount Ida, Crete, Greece|
|T.A.04597 Environment - "KultAnschluss", 9-day event, Design Center Linz, Austria|
|T.A.04697 Environment - "Ex Libris" Regina Eder, Books|
|1998||T.A.04798 17. Transformer, "Aurolac", Trainstation North, Bucurest, Romania|
|T.A.04898 18. Transformer, Frauenbrüneli, Zürichberg, Zürich, Switzerland|
|T.A.04998 Environment - Kunsthalle.tmpSteyr, Austria|
|T.A.05098 Action "Kristalltag"|
|T.A.05198 19. Transformer, Institute Hartheim, Austria|
|1999||T.A.05299 Environment, Generali Landesdirektion, Linz, Austria|
|T.A.05399 "Kurzschluss" work in progress|
|T.A.05499 Action "Aufzugsfahrt", freight elevator, Kunsthalle.tmpSteyr, Austria|
|T.A.05599 20. Transformer, Golden Gate Bridge, San Francisco, USA|
|T.A.05699 Minefield #13 - "Margareta", Parish Church, Stift Ardagger, Austria|
|T.A.05799 Minefield #14 - "Art Athina7'99", Athens, Greece|
|T.A.05899 Environment "Aufarbeitung", Kunststation Kollmitzberg, Austria|
|T.A.05999 "Granat Apffel" work in progress|
|T.A.06099 Minefield #15 - "Erneuerung", Brauhausgalerie, Freistadt, Austria|
|T.A.06199 Minefield #16 - "Wash T4", work in progress|
|T.A.06299 Environment "Kant", Blue-Yellow-Gallery, Weistrach, Austria (22.4.-20.5.2001)|
|T.A.06399 Minefield #17 - "faber aurifex", Kunsthaus Abraxas, Augsburg, Germany|
|2000||T.A.06400 Minefield #18 - "1818", work in progress|
|T.A.06500 "Hautnah" work in progress|
|T.A.06600 21. Transformer, Salt Mine Hallstatt, Austria - Uluru, Australia|
|T.A.06700 Project "aboriginal", Workshop, Kunststation Kollmitzberg - Minefield #01, Kubinsaal, Schärding, Austria -|
|Minefield #02a, Circular Quay, Sydney - Minefield #02b, Aborigine Marriage, Cairns, Australia|
|T.A.06800 "Down Under Aurum", work in progress|
|T.A.06900 "Wand", Galery Steyrdorf, Steyr, Austria|
|T.A.07000 "Olympia" (1996-2000-2004-2008) work in progress|
|T.A.07100 "Goldsalt", Goldmine-Works on Paper, Israel|
|T.A.07200 "Goldsoil", Goldmine-Works on Paper, Australia|
|T.A.07300 Environment, "Ohne Augenbrauen", Looshaus, Vienna, Austria|
|T.A.07400 "Friedenspost" - "Peace Bottle", Austria - Queensland, NSW, NT, Australia|
|2001||T.A.07501 Environment "Ballightning", ArteFiera 7'01, Bologna, Italy|
|T.A.07601 "Ein Bruch - Eine Werkschau", Kunstverein Steyr, Schloss Lamberg, Austria|
|T.A.07701 22. Transformer, Leprosum Colony, India (27.04.2001)|
|T.A.07801 Aktion "KultAnschluss 2", work in progress|
|T.A.07901 23. Transformer, location in progress (27.07.2001)|
|T.A.08001 "Ein Richtung", Courtesy: Legat GesmbH|
Biography Werner Dornik
Werner Dornik has been working since 1980 with photography, text, music and painting in Europe and Asia. Besides 37 one man exhibitions he published amongst other things the photo-text-volume "If you go you just go", given an honorary prize and then awarded the State Prize "The most beautiful books of Austria". His book- and exhibition projects are mostly directed against the "consumer society", encourage spiritual freedom, and support social projects. The proceeds go mainly to the Leprosy Station Khandwa in India and to Life Aid in Gmunden. As curator of the artist-exchange-project "The Search Within", together with 20 artists from Austria and India, he illuminates the political and spiritual backgrounds of modern painting in both countries over three years, in the form of exhibitions, symposiums, and publications. With the most recent multimedia project "The Journey from: Technic to: Techno" in Austria, Germany, Portugal, Italy and India, he pointed at the dangers of technical development Werner Dornik is father of four children and lives with his family in Bad Ischl, Austria.
A-4820 Bad Ischl, Sulzbach 149, Tel/Fax: +43/6132/21 990, e-mail: email@example.com
|1958||born on 28th December, 8.20 p.m. in Vienna|
|1973||agricultural technical school|
|1977||journeyman's exam "cook"|
|1980-1990||4 years of photographic commission work in India, Nepal, South America|
|1981||lepra-project "Leben Drittklassig", with a book exhibition|
|1982||master's exam "photographer"|
|1982-1989||establishment of the Photostudio Dornik/Stadler, Bad Ischl|
|working in the areas of industry-, advertising- and portrait-photography|
|1985||Academy of Fine Arts, Salzburg with Dieter Appelt (Berlin)|
|1986||planning and building a log hut without electricity "The Art of Living"|
|1986-1988||managing the Gallery Pavillon, Bad Ischl ( A )|
|member of the executive board of the "Friends of Photography and its Archive"|
|1989||planning a North Light Studio|
|1989-1990||percussionist of the "Big Bollocks Blues Band"|
|1990||workshops at Austrian schools,"Photography with the Camera obscura"|
|first instructions in water-colours by Otto Dornik|
|1991||establishment of "Bodhicitta", handmade art-paper project|
|"Begreifen durch Pantomime und Rhythmus", dance- and drum-performance with handicapped people, Hipphalle, Gmunden (A)|
|1992-1994||lepra-project "If you go you just go", book- and CD-presentations at the Photomuseum BadIschl, ( A )Theater d. Augenblicks Vienna, ( A ) Academy of Fine Arts Vienna ( A ), lectures at primary and high schools, exhibitions|
|1994-1995||8 months journey to Asia with the family (India, Nepal, Tibet)|
|between 1977 and 1999 about 20 journeys to Afghanistan, Pakistan, India, Nepal and Tibet with a total length of 6 years|
|circuit of the holy Mt. Kailash and the lake Manasarova|
|1995||lecture at St. Laurence College/Ooty, India|
|1995-1999||curator of the project "The Search Within" with artists from India and Austria, f. i. Raza, Chowdhury, Caur, Nair, Mazumdar, Staudacher, Damisch, Brandl, Fink|
|exhibitions in the Monastery Pernegg (A), Bildungsheim St. Virgil (A),|
|National Gallery of Modern Art in New Delhi (IND);|
|National Gallery of Modern Art in Bombay (IND);|
|Symposium f. i. with H. J. Heinrichs, Burghard Schmidt, Victor Anant, John Berger in the Monastery Pernegg (A)|
|multimedia project "The Journey from: Technic
to: Techno", including photographies, film and sound-collage
|1980||"Begegnungen", Kurhaus Bad Ischl (A)|
|1981||"Leben drittklassig", Landesgalerie Burg Hasseg, Tyrol (A)|
|1982||"168-Hungerstunden-Woche-urlaubslos, aussätzig, leprakrank", B Ischl (A)|
|1983||"Das ewig Weibliche", Gallery Mephisto, Bad Ischl (A)|
|"Vagator", Gruppe Wühlmäuse, Kufstein, Tyrol (A)|
|"India Ri-Velata", Gallery Universitá, Centro Culturale, Palermo, (I)|
|1984||"Leben drittklassig" travelled to Traun, Gmunden, Bad Ischl, Knittelfeld, Kufstein, Vienna (A)|
|1988||"Photographien", Wireless Exhibition Laa`88, Laa an der Thaya (A)|
|1989||"Photographie", Gallery Kreuzplatz, Bad Ischl (A)|
|1990||Anti-Pasta", photography and performance with Ernst Klass (BRD), Bad Ischl (A)|
|"Photomagien" with Jazz singing by Jenny Evens|
|Gallery Deller, Munich, (GER)|
|1991||"India Ri-Velata", Chiesetta dell`Angelo , Bassano di Grappa, (I)|
|"Wunsch los lassen", VKB Gallery Gmunden (A)|
|1992||"Der Stern von Betlehem", Kodak Gallery, Vienna (A)|
|1993||"If you go you just go", Photomuseum of Upper Austria (A), Cultural Centre Knittelfeld (A)|
|Theater des Augenblicks Vienna,(A)|
|Academy of Fine Arts Vienna (A)|
|1994||"If you go you just go", Gallery Pratti, Palermo, (I)|
|United Art Gallery Vienna (A)|
|Gallery Stift Seckau (A)|
|Gallery Spectrum Linz (A)|
|Austrian Institute for Culture, Rome, (I)|
|1995||"If you go", AI Gallery, Vienna (A)|
|1999-2000||"The Journey from: Technic to: Techno", Technical Museum Vienna (A);|
|Lagerhalle Dornbirn (A)|
|Kulturzentrum Zapata Stuttgart (GER)|
|Gallery Coldstore, Salzburg (A)|
|Art junction, New Delhi (IND)|
|2001||Museo Transporti Communicatione, Porto (P)
|Centro Culturale; Lissabon; Coimbra; Lagos (P)|
|Centro Culturale Palermo (I)
|1983||"Vagator", Gallery Pavillon, Bad Ischl (A)|
|1985||"Zeitgenössische österr. Photographen"; Brucknerhaus Linz (A)|
|1987||"Otto Dornik bis Bilitis" - 4 generations 1901-1987, Otto D. - aquarell, pencil, oil; Helmut D. - photography; Reinfried D. - aquarell; Werner D. - photography, drawing, sculpture; Bilitis D. - oil pastels, pencil; Trinkhalle Bad Ischl (A)|
|1989-1990||touring exhibition at different Austrian School Galleries (A)|
|1991||"Aquarelle", Bad Ischl (A)|
|1995||"Leondinger EIGENART 95"exhibition on purchased art works of the|
|Government of Upper Austria, Leonding (A)|
|1996||"Panoramen", Gallery Landhaus Linz (A)|
|1998||"Panoramen", Artforum Meran and Casa Strobele Valsugana, (I)|
|1999||"Mensch und Natur", Kammerhofgalerie Gmunden (A)|
|2000||"Entrefotos 2000", Gallery "Locationibus Domus", Madrid, (E)|
|1981||"Leben drittklassig", photographic text book with contributions by Joe Wieser and Prälat Dr. Leopold Ungar|
|presentation at the International Cultural Centre, Vienna (A)|
|in various European print media, in Austrian radio and TV broadcasts|
|1982-1986||Co-worker at the literature magazine "Perspektive"|
|1986||works for record covers, advertisement brochures and catalogues|
|1987||catalogue for the exhibition "Otto Dornik bis Bilitis"|
|documentary of the Blue Hall, Steinmühle, Freistadt, (A)|
|light-design by Theo Kerg (Paris)|
|1990||catalogue for the Schrattenberg-Symposium (A)|
|1991||photographs for the book "Grundlagen der Sivus-Methode" (A)|
|1993||"If you go you just go", photographic text book on handmade paper|
|1994||CD and book "If you go you just go"|
|1996||photographs for the book "Gesund alt werden" by Otto Dornik (A)|
|exhibition catalogue-book "The Search Within"|
|1999||exhibition catalogue-book "The Journey from: Technic to: Techno"|
|video film 33 min, "The Journey from: Technic
to: Techno", VHS/DVD
|1984||book award of AWMM in Antwerpen (B)|
|special award at the state-prize "The most
beautiful books of Austria", Vienna (A)
|from the municipals Bad Ischl, Knittelfeld (A)|
|the governments of Styria, OÖ, NÖ, Vorarlberg, Kärnten, Salzburg, Vienna (A)|
|Federal Ministry for Education and Arts, Federal Ministry for Foreign Affairs (A)|
|Federal Ministry for Economy and Traffic and the Museum of Modern Art Vienna (A)|
|the Federal Chancellery, International Council for Cultural Relations, (IND)|
Main sponsor - World Bank, Washington D.C.
State sponsorship, Austria
Private sponsors, USA/Europe
projekte am kollmitzberg
A - 3321 Kollmitzberg 7 8
THE ASSOCIATION STRIVES TO MEDIATE ART BEYOND THE CONVENTIONAL PATHS OF THE INTERNATIONAL ART MARKET AND EXPAND THE MEANING OF ART TOWARDS SOCIAL INTERVENTION