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>current projects
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exhibition view “in reference to...”
Eva Beierheimer and Miriam Laussegger at Galleri Mejan, Stockholm 2009
installation with a worte-banner, bronze skulptur, screen prints
Floor with bubble wrap

subjective vocabulary
screen prints/drawings each 45x45cm
exhibition view “in reference to...” Galleri Mejan, Stockholm 2009

the emperor’s new clothes
bronze sculpture app. 20x30cm
installation with bubble wrap
exhibitionview “in reference to...” Galleri Mejan, Stockholm 2009

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Installation with sticking letters at the entrance area of KKH, Stockholm 2009
by Eva Beierheimer and Miriam Laussegger

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artikulationsmanagement als mittel der inkompetenzkompensationskompetenz oder
werkstoff zur kunstschaffung, ausgangspunkt zur analyse und kritischen
auseinandersetzung oder aneinanderreihung zu absurden fremdwortorgien.
www.worte.at
screen prints, sculptures, videos and installations

Eva Beiereheimer und Miriam Laussegger atKro Art Gallery Vienna 2009
www.kroart.at

inkompetenzkompensationskompetenz
33 bronze letters
exhibition view “worte” at Kroart Gallery, Vienna 2009

parasitic traces
bronze sulptur mounted on pedestal, 10x15cm
exhibition view “worte” at Kroart Gallery, Vienna 2009

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>> untitled/2008
Pigment moles serve coordinates for a construction set.
To connect the dots the shortest possible distance is used.
By connecting the dots a network appears and divides the surface in triangle shapes, which are used patterns for a construction kit to create new forms.
These geometrical modules are put together to abstract geometrical sculptures of body parts.

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>>untitled/traces 2008

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>>Project for the sculpture park in Ängelsberg to the topic “movement”

To connect two points you just have to draw a line. While this line is connecting point A with point B, it is also separating the space to its left and right hand side.
In this manner a way can be seen as a connection line and a border between building sites. It’s as a structuring for interactive landscapes.

Starting point of the project i plan to realise at the sculpture park in Ängelsberg are the pathways which are leading through the area. It’s a kind of network which divides the point of view into a right and left hand side. It structures the environment and provides the lines the visitors should walk on.

I plan to oppose barriers to this familiar ambulation. These barriers will be doors which will be situated in the middle of the pathways and are intended to disturb the natural passing through the area.
New archetypes of moving have to be used when visitors open the door and walk across it.
On the other hand it’s also possible to walk around it which leads to new paths around the barrier.
The space divides into the space in front and behind the door, which of course changes with the walking direction.

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>>„new ways”
a project by Anaïde Chirinian and Eva Beierheimer
2008
Stockholm is built on a number of islands connected with some bridges. The usual way of going from one point to another is always accompanied by a long detour, which becomes part of every day life.
But sometimes in winter parts of the water is frozen. Some parts are broken for the boats to operate, but the other parts are used to find new ways in form of shortcuts. A usual way of 30 min can be shortened to 5-10 minutes.
The paths emerges as a logical consequence after the “deer pass“ of the people, connecting one point to another because , which walk along it and by doing so leave their marks in the ice/snow.
Natural ways are results of human movement in public spaces and they also function as communication lines. Ways are accentuations between spaces; they connect locations and people and thereby act like a language. If you are able to read the narrow caved trails aside from the already existing architectural conditions, whole stories and plots start to appear to you.
Ways therefore build active networks in-between animated scenes and they are also used as a possibility for transportation. Particularly people living in urban surroundings often face the necessity to pioneer their own trails through the constantly changing mix-up of streets, construction sites, and squares. At the same time they leave abstract impressions of their daily habits and motion-sequences.
Because if an already existing path deviates more then 30° from the aimed direction or location, humans tend to establish their own individual trail. Often such trails aren’t easy to spot out, but sometimes they can be viewed immediately as sod in parks and meadows.
To connect two points you just have to draw a line. While this line is connecting point A with point B, it is also separating the acreages to its left and right hand side.
In this manner a way can also be seen as a border between building sites and as a structuring for interactive landscapes.
The special usage of “new ways” in Stockholm is defined by the changing state of aggregation of the surrounding water as these are only possible to explore in cold winters when the sea is frozen on the surface.
To walk there and find your shortcuts is on your own risk because the ice can break.
When it gets warmer again these ways disappear by themselves and don’t leave any traces, as if they had never exist.
We plan to pick out one specific area where the ice will not be broken for boats and use the traces people leave on the ice and snow to produce a kind of public drawing by using food colour to mark the traces. New walking networks will appear and by that we try to visualize the new ways people create which do not exist under usual conditions.
The project is planned to be realised next winter (or whenever the water is frozen the next time).

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>>pattern drawings

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>>„durchschlag“
a project by at the Sollintuna Art Fair by:
Anaïde Chirinian
Anna Kalesse
Anngjerd Rustand
Eva Beierheimer
Gudrun Gruber
Guangjuan Zhang
Magnus Oledal
Victor Rundgren

A long discussion about art fairs and fair art lead us fair we invited a flower shop to install a shop and sell flowers at the kkh-space at the Sollentuna Art Fair.
The idea was to switch our position from being artist to galerist. We acted as a non profit gallery and didn’t charge money from the artist but visitors who bought a flower had to sign an art sales contract, which was numbered by “durchschlag #1, durchschlag #2…). We wanted to raise the question of the conditions of being an artist, the conditions of selling art and finally what can be seen as art, and what is supposed to be the artworks that were sold from the installation.
Even though the KKH sign hung over the installation it was interesting to see that not a lot of people didn’t realise that the flower shop was invited by us and was by that part of an art installation. Most of the purchasers also didn’t question to sign the contract even without reading. at the end we sold 158 pieces. Nine people refused to sign the contract.
The title of the installation comes from the German word “durchschlag” which means a blue print copy.
Blue prints what we used to have a second copy of each contract which the purchasers were supposed to take home.
Durchschlag is also an old word for sieve and is also used as the Swedish word
durkslag.