ABOUT THE ARTIST
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, textiles, sculpture as well as video, mixed media and 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.
"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
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, textiles, sculpture as well as video, mixed media and 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.
"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
CV
2002 - 2005 PhD-Programm / University of Art and Design Linz
2001 Graduated with honors diploma / University of Art and Design Linz
1994 - 2001 Experimental Design / Prof. Dr. Herbert Lachmayer /
Institute of Fine Arts and Cultural Studies / University of Art and Design Linz
2001 Graduated with honors diploma / University of Art and Design Linz
1994 - 2001 Experimental Design / Prof. Dr. Herbert Lachmayer /
Institute of Fine Arts and Cultural Studies / University of Art and Design Linz
SCHOLARSHIPS & PRIZES
June 2006 to July 2006 / Linz Export & SIM House / Reykjavik / Iceland.
March 2003 to August 2003 / Foreign Studio of the Austrian Federal Chancellery in Fujino / Japan.
April 1998 to June 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 architects, designers and artists.
Marie Ruprecht has works in private as well as public ownership, and has had numerous exhibitions in Austria and abroad.
She is a member of the Association of Upper Austrian Artists, a Member of Gallerie Forum Wels and initiator and director of the KUNSTSALON in cooperation with Antonia Riederer.
March 2003 to August 2003 / Foreign Studio of the Austrian Federal Chancellery in Fujino / Japan.
April 1998 to June 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 architects, designers and artists.
Marie Ruprecht has works in private as well as public ownership, and has had numerous exhibitions in Austria and abroad.
She is a member of the Association of Upper Austrian Artists, a Member of Gallerie Forum Wels and initiator and director of the KUNSTSALON in cooperation with Antonia Riederer.
SELECTED WORKS 2017 -2019
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 and FEIERABEND.
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.
BETWEEN THINGS
MARIE RUPRECHT / BETWEEN THINGS / ZWISCHEN DEN DINGEN / Gyotaku Print on Handmade Paper / 2017
Also in the series THE WORLD OF THINGS, the unremarkable and everyday things from the artist's studio are brought into focus and put on paper quickly, with apparent easy lightness and often with just a brushstroke.
THE WORLD OF THINGS
MARIE RUPRECHT / THE WORLD OF THINGS / DIE WELT DER DINGE / Japanese Ink on Cardboard / 2018
In the series, FEIERABEND, the everyday life of the artist is recorded in fine imprints. Following the tradition of the historic FEIERABENDZIEGEL*, the partly fragmentary imprints, visable on handmade tiles refer in their aesthetics to excavation sites and found objects of earlier civilizations in that they have a similar form language. They give the impression of the finiteness of all life of things. Some things seem to expose the movements of their function in daily use, other things remain silent.
* Feierabendziegel is a collective term for bricks which are imprinted with drawings, inscriptions, symbols and impressions. The term Feierabendziegel comes from the vernacular and means that the brickmaker had designed the last brick of a working day before the end of the workday. The tradition of decorated brick ceramics is as old as the craft itself. As early as the 3rd millennium BC. Examples are known of from Mesopotamia. The tradition continued with the Greeks and Romans and after 1000 AD producers who decorated their bricks are also well known, north of the alps.
* Feierabendziegel is a collective term for bricks which are imprinted with drawings, inscriptions, symbols and impressions. The term Feierabendziegel comes from the vernacular and means that the brickmaker had designed the last brick of a working day before the end of the workday. The tradition of decorated brick ceramics is as old as the craft itself. As early as the 3rd millennium BC. Examples are known of from Mesopotamia. The tradition continued with the Greeks and Romans and after 1000 AD producers who decorated their bricks are also well known, north of the alps.
FEIERABEND
MARIE RUPRECHT / FEIERABEND / Brick Clay & Burned Sand / Series of 10 bricks / 2018
The series ODRADEK AND OTHER THINGS is inspired by Kafkas story "The Cares of a Family Man" "Die Sorge des Hausvaters". It is a short story by Franz Kafka which deals mostly with a small creature called Odradek. The creature has drawn the attention of many philosophers and literary critics, who have all attempted to interpret its meaning.
As in all Kafka's work, this creature and its description can be read from different points of view. It is not possible to define exactly what Odradek is, not even what Kafka thought it was when he was writing the story. One possible direct interpretation is that Odradek represents any useless, harmless object which is kept around for no obvious reason.
"At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colours. But it is not only a spool, for a small wooden crossbar sticks out of the middle of the star, and another small rod is joined to that at a right angle. "*
These details offer the reader the ability to examine and criticize the purpose and necessities of objects for things or people such as Odradek. Odradek is described as an object, yet is also given a “hypothetical humanoid appearance* when the narrator describes the object as being able to stand upright on two points of the star.
In the fourth paragraph the narrator states that Odradek has a lingering presence in his home, often not seen but his presence is noticeable. It is discovered that Odradek can speak, again seen as having human capabilities.
Throughout the story, the narrator provides an extensive analysis of Odradek, attempting to emphasize how the object has taken on a life of its own, displaying life like qualities and traits, as well as his silent relationship with the object.
The narrator's main concern about the creature Odradek is revealed in the final paragraph:
"In vain I ask myself, what will happen to him. Can he die? Everything that dies has once had a sort of aim, a sort of activity, which has worn it out; this is not the case of Odradek. Will he therefore one day tumble down the stairs before the feet of my children and my children's children, trailing a line of thread after him? It's clear he does nobody any harm; but the notion that he might even outlive me is almost painful to me." *
The narrator fears that this purposeless object will outlive him. The family man, throughout the story, fears that Odradek will attack his role as the family man, the patriarchal figure in society.
* Franz Kafka, Ein Landarzt. Kleine Erzählungen, Kurt Wolff Verlag, 1920, München.
As in all Kafka's work, this creature and its description can be read from different points of view. It is not possible to define exactly what Odradek is, not even what Kafka thought it was when he was writing the story. One possible direct interpretation is that Odradek represents any useless, harmless object which is kept around for no obvious reason.
"At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colours. But it is not only a spool, for a small wooden crossbar sticks out of the middle of the star, and another small rod is joined to that at a right angle. "*
These details offer the reader the ability to examine and criticize the purpose and necessities of objects for things or people such as Odradek. Odradek is described as an object, yet is also given a “hypothetical humanoid appearance* when the narrator describes the object as being able to stand upright on two points of the star.
In the fourth paragraph the narrator states that Odradek has a lingering presence in his home, often not seen but his presence is noticeable. It is discovered that Odradek can speak, again seen as having human capabilities.
Throughout the story, the narrator provides an extensive analysis of Odradek, attempting to emphasize how the object has taken on a life of its own, displaying life like qualities and traits, as well as his silent relationship with the object.
The narrator's main concern about the creature Odradek is revealed in the final paragraph:
"In vain I ask myself, what will happen to him. Can he die? Everything that dies has once had a sort of aim, a sort of activity, which has worn it out; this is not the case of Odradek. Will he therefore one day tumble down the stairs before the feet of my children and my children's children, trailing a line of thread after him? It's clear he does nobody any harm; but the notion that he might even outlive me is almost painful to me." *
The narrator fears that this purposeless object will outlive him. The family man, throughout the story, fears that Odradek will attack his role as the family man, the patriarchal figure in society.
* Franz Kafka, Ein Landarzt. Kleine Erzählungen, Kurt Wolff Verlag, 1920, München.
ODRADEK AN OTHER THINGS
MARIE RUPRECHT / ODRADEK UND ANDERE DINGE / Embossing on Handmade Paper / 2019
SELECTED EXHIBITIONS
November 2019 / LOST & FOUND / Galerie der Vereinigung Kunstschaffender
OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2019 / GEDACHTNUS / Galerie Forum / Wels
Oktober 2019 / ALLE ZEIT DER WELT / KUNSTSALON / Schloss Puchberg / Wels
Juli 2019 / SOMMERFRISCHE / an Bord der MS NEGRELLI / Aschach an der Donau
April 2019 / VERTRAUTE DINGE , FREMDE DINGE / Galerie Forum / Wels
Juni 2019 / HORIZONTE / Kunstforum Linz AG / Linz
November 2018 / ICH DENKE SOWIESO MIT DEM KNIE / Galerie Forum / Wels
November 2018 / DAS ATELIER / Galerie der Vereinigung Kunstschaffender
OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2018 / ZWISCHEN DEN DINGEN / Solo Exhibithion / Einzelausstellung / Galerie der Vereinigung Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2018 / ÜBER DIE NATUR DER DINGE III / KUNSTSALON / Eferding
Juni 2018 / ÜBER DIE NATUR DER DINGE II / KUNSTSALON / HIPP-HALLE / Gmunden
November 2017 / JAGEN UND SAMMELN / Galerie der Vereinigung
Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
September 2017 / SAMMELN KUNSTSCHAFFENDE KUNST? / Galerie der
Vereinigung Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
September 2017 / ÜBER DIE NATUR DER DINGE I / KUNSTSALON Eferding
November 2016 / DIE BEFRAGUNG DER REALITÄT / Galerie der Vereinigung Kunstschaffender OÖ bvoö, Ursulinenhof OÖ Kulturquartier / Linz
Mai 2016 / Solo Exhibithion / Galerie im Gwölb / Haslach
April 2016 / BONA FIDE / In gutem Glauben / Galerie der Vereinigung
Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2015 / Ausstellung zu den Tagen des offenen Ateliers /
Alte Tischlererei am Schopperplatz / Aschach
Jänner 2015 / Die NEUEN / Galerie der Vereinigung Kunstschaffender
OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
August 2012 / artVERWANDT / Galerie Ruprecht / Obermühl
Juni 2008 / UNITED FRUIT / Galerie Ruprecht / Obermühl
Juli 2007 / KUNSTTERROR / Nordico Museum / Linz
Juli 2006 / Ausstellung des Artist in Residency Programms der Association
of Icelandic Visual Artists / SÍM / in Kooperation mit dem
Reykjavik Art Museum / SIM house / Reykjavik
September 2005 / On the Wall / Shortfilmfestival Kaiserstrasse / Wien
Mai 2005 / On the Wall / 2+2=8 / Atelierhaus Salzamt / Linz
November 2004 / Nothing is not Nothing /
Stillstand und Bewegung / Medienwerkstatt / Wien
Juli 2004 / DONAU / Galerie Ruprecht, Obermühl
Juli 2004 / Nothing is not Nothing / International Documentary
and Anthropology Film Festival Pärnu / Estland
November 2003 / Gedanken im Allgemeinen / keine Gedanken im Besonderen
..to be continued / Wien
Oktober 2002 / Gedanken im Allgemeinen, keine Gedanken im Besonderen,
BEST OF 2001 / Moviemento /Linz
Oktober 2001 / Solo Exhibithion / GEDANKEN IM ALLGEMEINEN,
KEINE GEDANKEN IM SPEZIELLEN/ Kunstraum Goethestrasse / Linz
September 2001 / Traumschiff Lentia /BEST OF 2001 / Galerie MAERZ / Linz
April 2001 / Ausgewählte Arbeiten / GRUNDFREMDE / Moviemento /Linz
November 2000 / Schikander Kino / Wien
Juli 2000 / Künstlerhaus / Wien
März 1999 / SURFACE / Galerie 5020 /Salzburg
November 1998 / DAS MEDIUM - EINE WELT DAZWISCHEN /
Museum für Gestaltung, Zürich
August 1998 / WORK AND CULTURE / Landesgalerie / Landesmuseum / Linz
Juni 1997 / PANORAMA LINZ / Galerie Griesgasse / Graz
November 1996 / WARMING UP / Galerie in der Ballgasse / Wien
OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2019 / GEDACHTNUS / Galerie Forum / Wels
Oktober 2019 / ALLE ZEIT DER WELT / KUNSTSALON / Schloss Puchberg / Wels
Juli 2019 / SOMMERFRISCHE / an Bord der MS NEGRELLI / Aschach an der Donau
April 2019 / VERTRAUTE DINGE , FREMDE DINGE / Galerie Forum / Wels
Juni 2019 / HORIZONTE / Kunstforum Linz AG / Linz
November 2018 / ICH DENKE SOWIESO MIT DEM KNIE / Galerie Forum / Wels
November 2018 / DAS ATELIER / Galerie der Vereinigung Kunstschaffender
OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2018 / ZWISCHEN DEN DINGEN / Solo Exhibithion / Einzelausstellung / Galerie der Vereinigung Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2018 / ÜBER DIE NATUR DER DINGE III / KUNSTSALON / Eferding
Juni 2018 / ÜBER DIE NATUR DER DINGE II / KUNSTSALON / HIPP-HALLE / Gmunden
November 2017 / JAGEN UND SAMMELN / Galerie der Vereinigung
Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
September 2017 / SAMMELN KUNSTSCHAFFENDE KUNST? / Galerie der
Vereinigung Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
September 2017 / ÜBER DIE NATUR DER DINGE I / KUNSTSALON Eferding
November 2016 / DIE BEFRAGUNG DER REALITÄT / Galerie der Vereinigung Kunstschaffender OÖ bvoö, Ursulinenhof OÖ Kulturquartier / Linz
Mai 2016 / Solo Exhibithion / Galerie im Gwölb / Haslach
April 2016 / BONA FIDE / In gutem Glauben / Galerie der Vereinigung
Kunstschaffender OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
Oktober 2015 / Ausstellung zu den Tagen des offenen Ateliers /
Alte Tischlererei am Schopperplatz / Aschach
Jänner 2015 / Die NEUEN / Galerie der Vereinigung Kunstschaffender
OÖ bvoö / Ursulinenhof OÖ Kulturquartier / Linz
August 2012 / artVERWANDT / Galerie Ruprecht / Obermühl
Juni 2008 / UNITED FRUIT / Galerie Ruprecht / Obermühl
Juli 2007 / KUNSTTERROR / Nordico Museum / Linz
Juli 2006 / Ausstellung des Artist in Residency Programms der Association
of Icelandic Visual Artists / SÍM / in Kooperation mit dem
Reykjavik Art Museum / SIM house / Reykjavik
September 2005 / On the Wall / Shortfilmfestival Kaiserstrasse / Wien
Mai 2005 / On the Wall / 2+2=8 / Atelierhaus Salzamt / Linz
November 2004 / Nothing is not Nothing /
Stillstand und Bewegung / Medienwerkstatt / Wien
Juli 2004 / DONAU / Galerie Ruprecht, Obermühl
Juli 2004 / Nothing is not Nothing / International Documentary
and Anthropology Film Festival Pärnu / Estland
November 2003 / Gedanken im Allgemeinen / keine Gedanken im Besonderen
..to be continued / Wien
Oktober 2002 / Gedanken im Allgemeinen, keine Gedanken im Besonderen,
BEST OF 2001 / Moviemento /Linz
Oktober 2001 / Solo Exhibithion / GEDANKEN IM ALLGEMEINEN,
KEINE GEDANKEN IM SPEZIELLEN/ Kunstraum Goethestrasse / Linz
September 2001 / Traumschiff Lentia /BEST OF 2001 / Galerie MAERZ / Linz
April 2001 / Ausgewählte Arbeiten / GRUNDFREMDE / Moviemento /Linz
November 2000 / Schikander Kino / Wien
Juli 2000 / Künstlerhaus / Wien
März 1999 / SURFACE / Galerie 5020 /Salzburg
November 1998 / DAS MEDIUM - EINE WELT DAZWISCHEN /
Museum für Gestaltung, Zürich
August 1998 / WORK AND CULTURE / Landesgalerie / Landesmuseum / Linz
Juni 1997 / PANORAMA LINZ / Galerie Griesgasse / Graz
November 1996 / WARMING UP / Galerie in der Ballgasse / Wien