|
Marie Ruprecht, born in 1975 in Upper Austria, lives and works in Aschach on the Danube. She studied Experimental Design at the Institute of Fine Arts and Cultural Studies at the University of Art and Design Linz and has been working since 1994 in the fields of photography, drawing, painting and sculpture as well as spatial installation.
An essential feature of her work is the direct engagement with the existing spatial and contentual conditions and the theme related appropriation of new cultural techniques for the realization of her works. |
The physical nature of the materials used, just as the experimental handling style with vastly varying work methods flow consciously in the formation process.
The chosen materials are tested for their possibilities and the relationship between the aspects one can precisely plan and the unforeseen coincidences are time and again newly fathomed out. Marie Ruprecht is initiator and director of the KUNSTSALON in cooperation with Antonia Riederer. |
MAG. ANDREAS STROHHAMMER - LENTOS KUNSTMUSEUM
CV
2002 bis 2005 PhD Programm
Univ. Prof. Dr. Thomas Macho
University of Art and Design Linz
2001 Graduated with honors diploma
Institute of Fine Arts and Cultural Studies / University of Art and Design Linz
1994 bis 2001 Fine Art - Experimental Design
Univ. Prof. Dr. Herbert Lachmayer
Institute of Fine Arts and Cultural Studies / University of Art and Design Linz
Scholarships & Prizes
Juli 2020 Artist Residency Grant - Province of Upper Austria
Juni 2006 & Juli 2006 LinzExport Grant - City of Linz
Juni 2006 & Juli 2006 SIM House Artist Residency Grant, Reykjavik, Island
März 2003 bis August 2003 Austrian Federeal Chancellery - Artist Residency Grant, Fujino, Japan.
April 1998 bis Juni 1998 Erasmus Study Visit - University of Fine Arts Bilbao, Spain
August 1998 First Prize in the category Free Art in the framework of the international competition
Future.Vision.Work for young architekts, designers and artits
Marie Ruprecht has works in private as well as public ownership
and has had numerous exhibitions in Austria and abroad.
Collections
KUNSTSAMMLUNG - Art Collection - Region of Upper Austria
Art Collection - City of Linz
Collection Museum Angerlehner
Member of
KÜNSTLERHAUS Wien - Gesellschaft bildender Künstlerinnen und Künstler Österreichs
Die KUNSTSCHAFFENDEN - Galerie im OÖ Kulturquartier
Galerie DIE FORUM Wels
FORUM - Kunstuniversität Linz
2002 bis 2005 PhD Programm
Univ. Prof. Dr. Thomas Macho
University of Art and Design Linz
2001 Graduated with honors diploma
Institute of Fine Arts and Cultural Studies / University of Art and Design Linz
1994 bis 2001 Fine Art - Experimental Design
Univ. Prof. Dr. Herbert Lachmayer
Institute of Fine Arts and Cultural Studies / University of Art and Design Linz
Scholarships & Prizes
Juli 2020 Artist Residency Grant - Province of Upper Austria
Juni 2006 & Juli 2006 LinzExport Grant - City of Linz
Juni 2006 & Juli 2006 SIM House Artist Residency Grant, Reykjavik, Island
März 2003 bis August 2003 Austrian Federeal Chancellery - Artist Residency Grant, Fujino, Japan.
April 1998 bis Juni 1998 Erasmus Study Visit - University of Fine Arts Bilbao, Spain
August 1998 First Prize in the category Free Art in the framework of the international competition
Future.Vision.Work for young architekts, designers and artits
Marie Ruprecht has works in private as well as public ownership
and has had numerous exhibitions in Austria and abroad.
Collections
KUNSTSAMMLUNG - Art Collection - Region of Upper Austria
Art Collection - City of Linz
Collection Museum Angerlehner
Member of
KÜNSTLERHAUS Wien - Gesellschaft bildender Künstlerinnen und Künstler Österreichs
Die KUNSTSCHAFFENDEN - Galerie im OÖ Kulturquartier
Galerie DIE FORUM Wels
FORUM - Kunstuniversität Linz
TO BE AT HOME IN TIME / DAY & NIGHT
TO BE AT HOME IN TIME / DAY & NIGHT / Indian ink and acrylic on old linen pieces / MARIE RUPRECHT / 2020 - 2021
This series was created in the midst of the pandemic out of the artistic examination of the theme, recurring rhythms of DAY and NIGHT. In a time when little has remained the same as before, this sequence and repetition, with their associated rituals and activities, were an important immovable constant that remained the same for all of us. Rituals that follow the rhythms of time can be defined as symbolic techniques of accommodation. They transform BEING IN THE WORLD into BEING AT HOME IN TIME.
“Rituals make the world a dependable place. What an apartment is in space, rituals are in ‚time’. They make time habitable. Yes, they make it accessible like a house. You arrange the time, set it up. "
Byung Chul Han, The Disappearance of Rituals: A Topology of the Present
This series was created in the midst of the pandemic out of the artistic examination of the theme, recurring rhythms of DAY and NIGHT. In a time when little has remained the same as before, this sequence and repetition, with their associated rituals and activities, were an important immovable constant that remained the same for all of us. Rituals that follow the rhythms of time can be defined as symbolic techniques of accommodation. They transform BEING IN THE WORLD into BEING AT HOME IN TIME.
“Rituals make the world a dependable place. What an apartment is in space, rituals are in ‚time’. They make time habitable. Yes, they make it accessible like a house. You arrange the time, set it up. "
Byung Chul Han, The Disappearance of Rituals: A Topology of the Present
Since 2012, Marie Ruprecht has devoted herself to abstract landscapes in recurring periods of time. Almost sculptural landscape paintings emerge from folds and structures of old linen like reliefs. In the light of the respective season, created in many layers, there are images of self-sufficient landscapes.
Wrinkles and folds become landscapes. Almost meditative, they tempt you to lose yourself in time.
Dr. Christine Haiden - journalist, author & chief editor
Wrinkles and folds become landscapes. Almost meditative, they tempt you to lose yourself in time.
Dr. Christine Haiden - journalist, author & chief editor
Marie Ruprecht works with groups of artwork which are just as experimental as they are technically finely tuned and each work shows its individual perspective. By way of securing evidence, she documents objects of daily use and thereby also everyday stories.
Marie Ruprecht creates spaces for thought using fragmentary reproductions of objects that are sometimes very familiar to us, but tend to retain a certain mystery and excitement. Her works often preserve a moment and thereby emphasize their timelessness. Her minimalist, formal implementation could not convey the content better: without colour opulence, Marie Ruprecht's work encourages our sensitivity. Locard's principle states that when two objects touch, a trace always remains on both. Not only does this apply to Marie Ruprecht’s working principle, but also figuratively to viewers engaged in her art.
Mag. Andreas Strohhammer - Lentos Kunstmuseum
Marie Ruprecht creates spaces for thought using fragmentary reproductions of objects that are sometimes very familiar to us, but tend to retain a certain mystery and excitement. Her works often preserve a moment and thereby emphasize their timelessness. Her minimalist, formal implementation could not convey the content better: without colour opulence, Marie Ruprecht's work encourages our sensitivity. Locard's principle states that when two objects touch, a trace always remains on both. Not only does this apply to Marie Ruprecht’s working principle, but also figuratively to viewers engaged in her art.
Mag. Andreas Strohhammer - Lentos Kunstmuseum
ALL TIME OF THE WORLD
Alongside space, time is a central coordinate of human existence, nevertheless it is a puzzling and paradoxical phenomenon. When the norm of the clock meets human sensation, the contrast between the counted time and the actually flowing, remembered, dreamed or subjectively perceived temporal order, becomes apparent. In an era of restlessness, in which hurry pervades every area of life, slowness is often received as a provocation. Reclaiming leisure and the search for the right speed are central themes of Marie Ruprecht's newer series of works.
Marie Ruprecht examines and materializes “time” in small format. She sensitively searches out traces of time, fleeting and permanent. She has parts of an old castle, pieces of the star parquet or the very old bricks, taken out of time, and using her very own, self-invented method, puts on them an embossed print, to re-set them in time in a new form. Marie Ruprecht likes to experiment with techniques. For a text by Jan Wagner, she made the counter pressure of the writing visible again with the rubbing of a pencil sharpener and, as it were, brought it back in time..... Nothing is as it is, but everything is continually becoming what it can be. It is a characteristic of time but may also be said of art.
Dr. Christine Haiden - journalist, author & chief editor
Dr. Christine Haiden - journalist, author & chief editor
ABOUT THE NATURE OF THINGS
Things that surround us, things between which our lives move, things that will outlive us, are the focus of Marie Ruprecht's recent exhibited works. The Austrian painter Roman Scheidl's quote, "We living beings, as time travellers, fill the space between the things" was the starting point and companion in the production process of the series BETWEEN THINGS, THE WORLD OF THINGS, FEIERABEND & ODRADEK AND OTHER THINGS.
Hundreds of years ago, Japanese fishermen developed a method of documenting their fishing. They used Sumi-e ink and rice paper to make prints of fish to record the type of fish, its appearance and its size. Initially the method was only used for documentary purposes but in the mid-19th century in Japan, there arose out of it, a separate art form called Gyotaku.
In the series BETWEEN THINGS Marie Ruprecht works with found objects in her immediate environment, all no more than a few steps away from the studio door, based on this traditional Japanese technique. Coincidence is invited in, the things are documented, captured, and through necessity in the clipping; abstracted. Subtleties and structures become visible.
Hundreds of years ago, Japanese fishermen developed a method of documenting their fishing. They used Sumi-e ink and rice paper to make prints of fish to record the type of fish, its appearance and its size. Initially the method was only used for documentary purposes but in the mid-19th century in Japan, there arose out of it, a separate art form called Gyotaku.
In the series BETWEEN THINGS Marie Ruprecht works with found objects in her immediate environment, all no more than a few steps away from the studio door, based on this traditional Japanese technique. Coincidence is invited in, the things are documented, captured, and through necessity in the clipping; abstracted. Subtleties and structures become visible.
Marie Ruprecht´s art shows us that you can get an impression of the big picture by just paying attention to the small details. What we can learn from this is that the aspect we look at is never the only one. We are living in a time when we often want to lay down so many things as absolutes, hereby we can forget, that just a slight change in perspective can bring an entirely different dimension to our picture.
Dr. Elisabeth Mayr-Kern - Landeskulturdirektion OÖ
Dr. Elisabeth Mayr-Kern - Landeskulturdirektion OÖ
With the embossed prints by Marie Ruprecht, the artist brings us closer to the things and once again creates something seemingly mysterious, puzzling about them - just as the tricky thing, the Odradek which appears in Franz Kafka's story. A thing that develops a life of its own or awakens to life, whose functionality is difficult to decipher.
Mag. Wiltrud Katherina Hackl - Journalist & Author
Mag. Wiltrud Katherina Hackl - Journalist & Author
Marie Ruprecht's art can call forth a deeply moving effect on the beholder. The eye for detail, the reduced brushstrokes and perspectives, the shadowy nebulous shapes in multi-layered scenarios. Ordinary things in their everyday surroundings are given a special quality when treated with love and devotion. The work radiates and creates an impressive and lasting effect.
Mag. Marlene Elvira Steinz - Art Historian & Curator
Mag. Marlene Elvira Steinz - Art Historian & Curator
VERTRAUTE WELT, FREMDE WELT / WELTRAND / Acrylic Paint & Ink on ald Linen / MARIE RUPRECHT / 2019
But if we abstract from the horizon all objects which attract the sight particularly, and imagine a wide and unbroken plain or the open sea, the horizon itself will become an object, and truly the most sublime that the eye can ever contemplate.
The Aesthetic Letters, Essays, and the Philosophical Letters of Friedrich Schiller
The Aesthetic Letters, Essays, and the Philosophical Letters of Friedrich Schiller
