October 10, 2019
Clemens Krauss moves his practice between psychoanalysis and art. His exhibition at Kunstraum Innsbruck involves an exploration of people’s vulnerabilities and a person’s internal conflicting selves. These symbolisms are easy to decipher and open for interpretation: bourgeois waiting room furniture coexists with mirrors, plants, paintings, video works and stripped skin…
‘Antechamber’ guides the audience through a series of waiting rooms filled with furniture and artistic works. Among them are videos in which Krauss links his own biography with social and political questions.
Krauss undertook training in psychoanalysis and as a part of his work he offers free psychoanalytic sessions that are anonymous and subject to secrecy. He also says that he incorporates his experiences into his artistic work. How exactly it affects the patients when they become the source of inspiration for the artist’s therapist one can only speculate. The setting that Krauss has built certainly simulates the idea of spaces of experience and expectation. The concept of the rooms following each other becomes a symbol for the artist’s own realm of experience and expectation and his broader practice. Just as the observer undergoes a symbolic self-realisation through the therapeutic session, Krauss provides an insight into his cultural socialisation. Thus the work of the artist, and the sequence of rooms resulting from it, represents the conflicts and frictions of self-realisation and leaves the observer to stagger through the rooms in the service of knowledge gain.
More general social, political and cultural processes can be made palpable not only through the application of psychoanalytic transference onto a canvas, for example, but also to the overall situation of an art exhibition, for instance through the language and the voice of the persons involved.” (Clemens Krauss)
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