L'ESTATE DELL'ARTE DI VIENNA con Marie France Goerens nella galleria CITYVIENNA
This wonderful international exhibition shows Marie France Goerens and other 40 artists from 20 nations. Come and watch incredible artworks from all over the world.
„Space, Time, Mo.on, Tension, Rhythm“ Goerens’ work is an interplay between autonomous form and installa. ve, site-specific character. Throughout, she nego.ates between good and bad form, perfec.on and inaccuracy, realism and abstrac. on. Goerens seamlessly shiDs from the personal to the collec.ve at will. Paul Klee asserts in his ‚Crea.ve Confession‘ that movement is fundamental to all becoming. Sculpture, a pivotal element in Goerens‘ work, embodies this essence—it serves as both a drawing in space and an extrac.on from the spa.al context. In this context, form follows c.on. Goerens, through her movements—walking, jumping, running—traces lines with her body, dissecting original messages and memories. In her endeavor to forge new connections, he opens up the space, transforming her body into an insrument that dissects and articulates the spatial elements. Space, in her approach, isn‘t merely a container but an active dialogue partner. As Gaston Bachelard suggests, space is not an inherent entity but rather a creation arising from human actions.The line serves as a visual manifestation of human thought, connecting points n space and playing a central role in Goerens‘ artistic expression. It becomes the conduit through which the invisible is made visible. Mirroring the creative process, there is a dynamic shift of energy, traversing thresholds from the internal to the external and back. The line encapsulates a timeline, symbolizing development, a concept of significance as one is not the same tomorrow as today. Hans Schabus articulates that sculpture, intertwining with its environment, the present, and society, undergoes a transformative process—the sculpture ignites, and the space extinguishes.“The materials she uses are frequently castoffs from daily life. Whether using them as templates for her works or incorporating them as fragments of reality into her installations, Goerens grants a second life to rejected items. In her artistic
process of lifting and integrating, there is a deliberate attempt to impose order. Walter Benjamin captures this transformation of the worthless into a value-neutral design element eloquently: ‚Hardly does he hold the objects in his hands; he seems inspired by them, like a magician gazing through them into the distance.“
