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Elsa Martini – The Happiness of the Others. Photo: Daniel Lichterwaldt
Elsa Martini – The Happiness of the Others. Photo: Daniel Lichterwaldt

The first two relate to the Second World War in Austria and Italy, where the focus is on women and children who did not actively participate in this war. However, they were family members of men who served as soldiers in the SS or in other positions. In the third part, the artist deals with moments of family celebration under socialism while also giving us a glimpse of post-communism family portraits from her homeland.

Solo Exhibition: Elsa Martini – The Happiness of the Others
Exhibition duration: 18. 07. – 23. 07. 2022 – Wednesdays and Thursdays, 3. to 6 p.m (On other days, on request)
Exhibition Opening: 18. 07. 2022, 7p.m. – 10 p.m.

Address and contact:
Galerie KRAS
Stumpergasse 16, 1060 Wien

Elsa Martini – www.instagram.com/elsamartinistudio/


Elsa Martini graduated from the Academy of Arts in Tirana in 1996 in the painting class of Edi Hila, then certified by the University of Applied Arts in Vienna in 2011 and Institut für Kulturkonzepte in 2012. Martini is a conceptual artist who has developed a complex artistic practice over the decades, she sought the approach to broaden the horizons of the works, which move between painting and multimedia, site-specific and performance. The artist deals with tensions between the individual, society and environment; examines and reflects on personal behavior and social trauma, questioning boundaries, space, environment, and gender issues. Elsa Martini is also passionate about exploring other cultures. At different times, we witness vernacular influences in her works.

Her works have been part of numerous solo and group exhibitions in galleries, museums, art festivals, biennials, and critical formats. Among them at Albanian Video Days Belvedere 2, 2019; Bangla Biennale, site-specific installation 2019; XIII. Biennale of Young European and Mediterranean Artists – Performance, 2008 Apulia IT; Furies Festival Châlons-en-Champagne and Festival Les Invites de Villeurbanne, performance with the theater company Cumulus FR 2005; Nuovo Teatro_Nuove, Naples 2003. Her work in Austria has been shown at Parallel Vienna, Belvedere 21, Sommerakademie Salzburg, Galerie Krass, Aktionsradius, Galerie Hochdruck and in various alternative projects. She is the founder and curator of the international art collective NATA, curatorial practices have always been part of her work.

In an Ancient Greek comedy by Aristophanes, clouds are something more than mere decoration or staffage, more than the matter out of which impressive landscapes are moulded, as of clay.

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When I got the opportunity to conduct this interview, I realized that i wanted to talk to the artist not only about the Biennale, but also about earlier, smallscale works such as Father (2009), Dancefloor (2009), or those Polaroid outcomes that show only the belly part of each of the women who have caused, generated (as Tosatti says) something meaningful on him (Senza Titolo (matrice), 2010-2011). The interview was conducted in June 2022.

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Like animals in a cage, we become witnesses of change in our adjacent realities. Boarders are dissolving, time zones disappearing. Our self-projected images are available 24/7 while our egos deform.

There was a time in history when uttering such words in a church would have been more than enough to convict a young woman of witchcraft. Indeed, many “witches” were convicted for much less.

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Part 1: The emptiness that becomes ritual is real. After post-modernity comes, is now – real postmodernism! The replacement of rational decisions by aesthetic ones – without a link.

We’re sitting with Oksana in her big studio. She has just been back from Spain; sun-kissed and full of energy, she is working on her new canvases – cheerful azure blue is surely inspired with the sea.

The works are all handmade by me, it’s hundreds of hours of hand drilling, killer noise, dirt and water. You probably don’t get that feeling when looking at them when installed.

The works are all handmade by me, it’s hundreds of hours of hand drilling, killer noise, dirt and water. A contemplative nightmare. You probably don’t get that feeling when looking at them when installed.

He prefers not to drink, but if he does, then a good „Bier vom Fass“. The smell of bubble gum transfers him to a happy place, and the last movie he cried while watching was “Hachi: A Dog’s Tale”.