6th Party Machine (Dog Whistlers)

BACKGROUND: Creative work is an inquiry into critical agency through art and political cartooning in terms of grotesque method, dispersed trace of body and viewer agency, specifically Within the context of Austrian political cartooning traditions. Framed by key texts on the grotesque: Bakhtin, M (1984). Rabelais and His World, and space & time as dimensions of political change and agency; Massey, D (1992) Politics and Space/Time. Related to practices of artists Monika Sosnowska, 1:1 (2007), Venice Biennale and Nancy Spero, Maypole - take no prisoners (2008), Serpentine Gallery, London. Exhibition curated during the 2016 Austrian Presidential elections. The research asks; How can critical commentary on politics be enacted within an expanded field of drawing? CONTRIBUTION: Innovation, New Knowledge Research addresses issues of political communication and dissimulation. Artwork is installation of network of dyed paper spans, furniture, framed artwork, diagrams, with array of graphic effigies of Austrian Federal parliamentarians, presented with speech bubbles installed alongside the dried remains of an found animal carcass. Viewer experiences spatial event as fragmented political body by moving inside delineated space and contributing hand-written text. Research suggests tropes of political cartooning establish poltical critique through self-identification with grotesque political body via a 3 dimensional installation experience. SIGNIFICANCE: Evidence of Excellence Work was comissioned by Verena Gamper, Kunsthalle Krems as part of AIR Krems Kunstmeile International artist residency & exhbition program auspiced by the government of Lower Austria and presented at the Mödling Kunstraumarcade Gallery, Vienna. Accompanying Catalogue includes introductory essay by Curator. Work cponents held by the collection of the Karikaturmuseum, Krems, Austria.

研究背景：本创作项目以怪诞（grotesque）手法、身体的弥散性痕迹与观者能动性（viewer agency）为切入点，通过艺术与政治漫画探索批判能动性（critical agency），具体研究语境为奥地利政治漫画传统。研究框架基于两部关于怪诞的核心文本：巴赫金（M. Bakhtin）1984年所著《拉伯雷与他的世界》（Rabelais and His World），以及将空间与时间作为政治变革与能动性维度的研究成果：梅斯（D. Massey）1992年的《政治与空间/时间》（Politics and Space/Time）。本研究关联的艺术家实践包括莫妮卡·索斯诺夫斯卡（Monika Sosnowska）2007年参展威尼斯双年展（Venice Biennale）的作品《1:1》，以及南希·斯佩罗（Nancy Spero）2008年于伦敦蛇形画廊（Serpentine Gallery）展出的《五月柱——绝不留情》（Maypole - take no prisoners）。该展览于2016年奥地利总统选举期间策划。本研究的核心问题为：如何在拓展的绘画领域中实现对政治的批判评论？

研究贡献：本研究属于创新型新知探索，探讨了政治传播与政治掩饰议题。其艺术作品为一套综合装置，包含染色纸幅网络、家具、装裱艺术品与图表，搭配奥地利联邦议会议员的漫画肖像群，并配有对话气泡，同时陈列了采集到的动物残骸干燥标本。观者可在划定的空间内移动，并通过手写文本参与展览，将空间体验体认为碎片化的政治身体。研究表明，政治漫画的修辞范式可通过三维装置体验，使观者通过与怪诞政治身体的自我认同构建政治批判。

研究意义：本优秀作品由韦雷娜·甘珀（Verena Gamper）受克雷姆斯当代艺术博物馆（Kunsthalle Krems）委托创作，作为下奥地利州政府赞助的AIR克雷姆斯艺术大道国际艺术家驻留与展览项目的一部分，于维也纳莫德林当代艺术拱廊画廊展出。配套展览图录包含策展人撰写的导论文章。该作品组件现由奥地利克雷姆斯漫画博物馆（Karikaturmuseum, Krems）收藏。