The horizon as a being of connection between heaven and earth is of central importance for Barbara Anna Husar. She is, amongst other things, a goat-shepherdess in the desert of Sinai and has been mentored by the pre-islamic guardians of the millennia-old nomadic culture. Infinity and internal connections are driving her artistic research into characterizing the core issues of creation. From the umbilical cords of her herd of goats she has connected her preliminary magnum opus - a hammock. It is currently a bolt of lightning from the umbilical cords in a tower in Vienna in the making.
Barbara Anna Husars body of work is difficult to isolate. 4.535 billion years of Earth's history; meteorites, trilobites, dragonflies, dinosaurs, cows, herds of goats - generally in animated film, installation, performance, oil paintings and poetry. Her research is intermedial between prehistory and the reshaping of life. Barbara Anna Husar's international activity is in the exchange of information between cultures; areas of knowledge and artistic media she pictures with: "I am part, intermeiate part and particle accelerator."
Barbara Anna Husar is a visual artist, performer, director and author. She studied at the University of Applied Arts in Vienna, at the Gerrit Rietveld Academy in Amsterdam, received the Austrian State Scholarship and is Hubert Berchtold winner.
In Berlin, Beijing, Shanghai and Bilbao she was Artist in Residence. Solo exhibitions at the Natural History Museum in Vienna, Schloss Amberg Feldkirch (A), Altenrhein Airport (CH), English Building Art Space (FL), Kunstverein Ulm (D), stage back Shanghai (CHN), GoDownArtCenter Nairobi (KE)
Barbara Anna Husar : `Interfritteuseale Objekte´ are interfaces to connect to, vessels of communication that make the world go `round
Margareta Sandhofer, 2013
The source of inspiration and complex artistic cosmos of Barbara Anna Husar is her long-term integration into the nomadic life of the Bedouins of the Sinai desert. Umbilical cords from her own herd of goats, buckles from found sandals, meteorites as cosmic informants, deep fryer baskets as their traps, spinal cords and skeletons as symbols of the flow of data and information transfer. The individual work is a synapse in a constantly generating network among periods, cultures and opportunities. Drawing, print or classical painting, installation, performance and film provide communicative interfaces that make Barbara Anna Husar´s world go round.
HOT DOCK . New information channeled into the country
Carina Jielg, 2011
There are not many artists to whom the term `multimedia´ applies as well as it does to Barbara Anna Husar. The artist, who defies any classification, was born in in 1975 in Feldkirch and has been living for nearly 16 years in Vienna and in the desert of Sinai.
Husar switches - switch, a word that suits her well too - between locations and individual disciplines. She uses one hand for painting, as she banishes oversized cows and dinosaurs on seed bags or uses the graphics for her typical stamp works - her archive now includes more than 900 stamps with images ranging from monkeys to goats and words from astral to fuse. Then again, she produces sculptures, makes books or films - for example, on her own herd of goats in the desert, on Bedouin women who guard the herd when Husar is not there and especially about what happens when such guardians, who belong to a millennia-old nomadic culture, meet an Austrian artist.
So, what happens then? Information is exchanged. This process, this fleeting encounter or communication instant, this interface, the process whereby information is sent and received, transmitted, transferred - that is what Anna Barbara Husar is interested in. `Interestingly enough, I realized my art revolved around information in the desert, hundreds of miles away from civilization as we know it.
EGG EDITION / Artstamp.dk
BARBARA ANNA HUSAR plays with the concept of evolution. There is no contradiction in that she is playing with the concept of creation at the same time, with the creative act, which the theory of evolution knows nothing about. She connects nature (evolution) and creation (art) through her search for primary potentials.
In doing so, BARBARA ANNA HUSAR uses the media of animated cartoon, painting, photography, performance, drawing, installation... her flying eggs are embedded in this web along with various other subjects, for instance her objects consisting of interlinked chip pans.
For BARBARA ANNA HUSAR the important thing is always to take care of the flow, transferring energy by never really switching off her smile and a generous breath of amorous fulfilment every now and then. Eggs are definitely significant in this regard. There is no symbol more feminine.
For BARBARA ANNA HUSAR, all this ties in with her on-going major project, started in 2007, a hammock consisting of the umbilical cords of goats from the desert of Sinai. The flying eggs turned up in drawings only last year, very fresh, they have already become fundamental to the further evolution of her inventive games.
For BARBARA ANNA HUSAR drawing is both a start and an ending as well as a transition state of all her phases. Her roots are in this medium. But the drawing branches out in multimedia-based unpredictable ways. As far as the web is concerned, a plan is held in her hand, calmly, just like an egg, flying.
Carolina Kobetitsch, Beijing, 2011
The primary data-string zoomed into the umbilical cord is the leading thread in Barbara Husar´s work.
She has been interacting with the nomadic culture in south of Sinai for more than 16 years. Meanwhile being part of a bedouin tribe she owns her own flock of goats, that is generating umbilical cords in silence.
Her artwork transports the flow of universal information - between cultures and times - through a great number of media, that ties up into an organic carpet with unlimited patterns.
When she was invited by stageback gallery in Shanghai last year, she only arrived with a golden umbilical-cord and yet gave birth to huge cross-creatures between dinosaurs, dragons and chinese architecture. During her visit in Beijing in septemper 2011 she will be picking up those strings again and activate that organic field for further evolutions.
THIS IS a(rt) RICE BAG
preface for CORD OF REXA
Susanne Junker, artist and founder of stageBACK Shanghai, December 2010
While preparing and monitoring words for this text, implanted images of CORD OF REXA visualized and created phrases that kept saying:" This is a regular
rice bag, is it not?" "This is not a dispensable rice bag, is it?" "This is not an art book, this is a rice bag!" And clearly: "This rice bag is the skin of CORD
OF REXA! *"
Barbara Anna Husar is an ambassador of cultures. As stageBACK´s first artist in residence, it wa sure that she will create a melt down of different approaches and life forms. Her yearly trip to the Beduin tribes in the Sinai dessert gives distinction to the source of her creating and artistic appearance.
Her first proposition to the Chinese audience, the movie CORE OF FLOCK was shown within a Chinese rice bag installation, sown and prepared as a tent
the same way as Beduin women create living space in the "public space" of their wild landscape. "Living" and "public space" a modern Chinese theme, has
been addressed and widely discussed especially during the world expo year 2010 in Shanghai. Through CORE OF FLOCK, a bridge between this generally
unknown and quiet civilization finds its way from North Africa via Europe to over populated China.
Shanghai is a spoiled town with anything and everything under the sun, towered over by its gigantic monumental skyscrapers kissing almost the fire ball. In 2010 and ongoing, the biggest, fastest, tallest, most, best, better ... are familiar words that lurked behind all street corners in the city. Husar´s interpretation to this certain madness became a perfect marriage of the prehistoric and futuristic, animal life and human built. Gigantic canvases as rice bag tents serve as a barn for the new herd of Shanghai dinosaurs and EXPO FLOCKS. Shanghai´s "better city, better life" is an animal farm with fluorescent colors and sarcastic pop art dinosaurs titled PUDONGO SAURUS.
A contemporary "Atlas Shrugged *", carrying the new weight of modernization, is visible thoroughly her drawings and acrylic dragons that got rendered
within an intense manifest at Husars first visit to China.
*Every catalog in this limited edition has a unique rice bag cover that was part of Husars video installation.
*Atlas Shrugged by Ayn Rand.
CORD OF REXA
stageBACK,310, 3F, 696 Weihai Lu (Shaanxi Nan Lu) Shanghai, China
Susanne Längle, 2010
"Xianglong zhaoi" - flying dragon, is the name scientists gave a lizard from the
Cretaceous period discovered in China in 2007.
The little winged reptile glided down from the trees on the hunt for insects 125 million
years ago. Unusual creatures from ancient times are found in the work of European artist Barbara Anna Husar (b. 1975, Austria). Giant lizards are born in her studio.
Mystical, archaic, and yet bright and cheerfully coloured,
her living fossils are powerful ambassadors between times past and the present. For her larger-than-life acrylic paintings she employs seed and rice sacks as her canvas -
a metaphor for the growth, evolution, and transformation of cultures.
Some of her creatures are hybrids between dinosaurs and architecture. "Guggosauros Bilbao Titan" is an example of this, a combination of a reptile and the Guggenheim Museum in Bilbao. Bones or stone, Husar is interested in both as the backbone and storage media for the most widely varied forms of life, as data media for genetic - biological and cultural - codes that constantly develop and yet at heart remain the same. Of all places, the exploding metropolis of Shanghai, whose transformation accelerated once again through the Expo 2010, offers numerous points of contact with its conjunction of ultramodern and traditional life.
As a magical mythical creature, the Chinese dragon is able to take on other forms. Why not that of a museum? For her artist-in-residence stay at stageBACK, Husar chooses as the first motif of her "Archisaurus" transformations the Shanghai Art Museum, a historic building near the People's Square that nowadays houses Shanghais leading museum of modern art. The latest thing need not mean the elimination of the old; what is old can be filled with new, up-to-date contents, without losing its connection to its origin. The new arises from the old: Barbara Anna Husar sees her artistic activities as an umbilical cord, as a transfer of energy between times and cultures - lizards and dragons fly on the skyline of Shanghai.
stageBACK , 2010
At the same time stageBACK presents the world premiere of Barbara Anna Husar's new film, "core of flock"
CORE OF FLOCK
BARBARA ANNA HUSAR
A / 2009 / 62min
umbilical cords are connecting worlds
data strings of gracefully built world stages
joining film tracks inside my whirling channel
_ MEDULLA SPINALIS _
_ FLOCKTENDING BETWEEN PARICLES _
_ ARTSTREAM _
_ ARTSTREAM GLAND _
_ TENDING THE ARTSTREAM _
_ HORIZONT _ STAGE _
_ INTEGRAL _ SHEPHERDESS _
_ DATA _ DRIVE _
_ DATA _ VEIN _
_ SUBLIMINAL _ DATA _
_ SUBLINGUAL _ DATA _
_ DATA _ DONKEY _
_ DATA _ PSYCHO _
_ BLOOD _ DATA _
_ DATA _ CRADLE _
_ DATA _ CARAVAN _
_ DATA _ TENDING _
_ DATA _ PRIMATES _
_ CELL NUCLEUS _ STAGE _
_ PARALLEL UNIVERSE _
_ SUBATOMIC _
_ STAGE _ EXTENSION _
_ STABLE _
_ UMBILICAL CORD _
_ HERD´S SMELL _
_ HERD´S SMELL _ TENDING _
_ PHEROMONE SPECIMEN _
_ NEURONAL STAGE _
_ TENDING _ CELL-COMMUNICATION _
_ SILVERCORD _
_ FRAGRANCE _ SILVERCORD _
_ BUCKLE UP _
_ HIGH PLATEAU _ SHEPHERD _
_ DATA-STRING-FACTORY _
_ SUBLIMINAL _ CAMERA _
_ CELL NUCLEUS _ SKETCH _
_ CELL NUCLEUS _ STABLE _
_ ARCHETYPE _ INFUSION _
_ SUBLIMINAL _ STAGE _
_ SUBLIMINAL _ SUBLINGUAL _
_ DATEA HORIZON _
_ DURA MATER _ FLOCK _
_ HORIZON _ INBETWEEN PARTICLES _
_ PEPTIDE _ SHEPHERD _
_ INTEGRAL _ CHROMOSOME _
_ MIRROR-NEURON SCULPTURE _
_ INTERCHIPPANIC NET _
_ INTEGRAL _ INFUSION _
_ MEDULLA SPINALIS _ HIGH POWER CURRENT _
_ I SWAY MYSELF INBETWEEN MY SYNAPSES IN A HAMMOCK MADE OUT OF UMBILICAL CORDS _
_ ARCHETYPE _ VEIN _
_ CELL MENTAL _
_ DURA MATER _ STAGE _
_ HIGHPLATEAU _ SHEPHERD _
_ GOAT PILL _
_ BRAIN STEM _ CRADLE _
_ CELL NUCLEUS _ STABLE _
_ MENTAL _ STEM CELL _
_ UDDER _ FOSSIL _
_ PEPTIDE _ CHIP PAN _
_ DONKEY IN BETWEEN PARTICLES _
_ STAGE IN BETWEEN PARTICLES _
_ PEPTIDE _ PART _ ATTRACTOR _ IMPULSE _
_ STAGE _ TENDING _
_ SET DESIGN _ TENDING _
_ SET DESIGN _ INTRAVENOUS _
_ I AM PART, INTERFACE AND PARTICLE ACCELERATOR _
Sammlung Essl / Austria Contemporary
I own a herd, I work with umbilical cords
Karin Altmann, Essl Museum, 2008
This statement of the Feldkirch-born artist Barbara Husar aroused in my mind instant associations with idyllic west-Austrian landscapes and lush green pastures. These associations were abruptly shattered when I was confronted with images of maximum contrast: images of barren wilderness, endless horizons and emptiness. For more then ten years, the artist and modern-day nomad (Feldkirch - Vienna - Amsterdam - New York) has been attracted by the desert. It is the desert of the Sinai Peninsula where she encountered the Bedouin tribe of the Tarabeen with whom she has been linked through a special friendship ever since. But why would a woman from Vorarlberg be attracted by the desert?
The desert is a symbol of remoteness and civilisation weariness, a projection screen for individual fantasies and yearnings. If someone moves from the -civilised and highly developed part of the world to the desert he or she is driven by an inner quest, a quest for adventure, for a counterweight to our capitalist hybrid present, for silence - probably the greatest quality the desert has to offer - and a quest for him or herself. Going to the desert is like an act of cleansing. You decide to leave all comfort, material ties and other ballast in life behind and gain a fragment of personal freedom in exchange. Whether in one s soul or in outer reality, the desert is an incomparably creative sphere, a sphere of existential experiences, even if, in the age of satellite navigation, cell phones and friendly, hospitable Bedouins, the desert has lost most of its terrors and hostile qualities.
Travelling through the desert as an artist means being on a tightrope from yesterday to today and entering into a mental world where one s own horizon is constantly changing; for, in the desert, not only moral concepts change, but also habitual thought structures. While logical thinking and knowledge pale and perception becomes heightened, thoughts fly freely and become manifest in constantly new creative patterns. A vibrating, inspiring relationship develops between the artist and her environment, and this can be clearly felt in the work of Barbara Husar.
The contrast between the archaic-penurious life of the desert and the modern information society awakened Husar s interest in the exchange of data and messages which then resulted in her work DATA EXCHANGE. In the desert it is mainly individual moments and inspirations by the wayside that challenge a persons eyes, mind and sensitivity. In Barbara Husars case it was castoff shoe buckles that became metaphors of data transfer after she had persistently addressed the theme in her drawings. Like synapses (1), which represent an essential part of the brain s network of nerve cells, the buckles became junctions and recurring motifs in Husars work. This repertoire of -symbols of neuronal communication mechanisms- was expanded in 2005 to include chip pans, in which the artist sees -multidimensional networks- and even meteorite traps, and in 2007 to include umbilical cords. The umbilical cord is a communication channel. It ensures the flow of data that is necessary for survival, links the inside with the outside and, hence, completely different life environments.
In 2007 Barbara Husar went on another journey to the wadis of the Sinai with the intention of buying the umbilical cords of goats from Bedouin women. Her idea met with little understanding at first, since the Bedouin women believe that they cannot freely dispose of the umbilical cord. As the Arabic designation -habel surri- (mysterious cord) suggests, the umbilical cord is believed to be the seat of the animals soul. One possibility of respecting that belief but still obtaining umbilical cords from goats was getting a goat herd of one s own. Thus Barbara Husar became the owner of a herd of six goats in the Sinai desert. By acquiring the goats, Barbara Husar built another bridge to facilitate intercultural exchanges between a life close to nature in the desert and a technology-laden urban life; linked by an umbilical cord, so to speak.
(1) Synapse: a specialized junction at which a nerve cell communicates with a target cell. It is a biochemical communication process involving a chemical transmitter substance, a so-called neurotransmitter.
Sammlung Essl / Austria Contemporary
DATA EXCHANGE has been installed
Veronika Hauer, Essl Museum, 2008
In conversations Barbara Husar mentions allegorical symbols she has recently started to use as stamps on her drawings and photographs: Buckles, chip pans, umbilical cords, hammocks. Hearing the words without any explanation for the first time leaves me puzzled as to what to make of them. I have a certain aversion to allegorical symbols.
When we talk to Barbara Husar it turns out that her use of symbols has to do with the pleasure she takes in the witty lyrical connections they include. In 1996, when Husar first met the Tarabeen tribe on the Sinai peninsula, she drew everything around her in the first weeks of her stay. It seemed to her that making drawings was a method of understanding the place and getting a picture of what she experienced. During her trip to the Sinai in 1999 she set herself the target that by the end of the trip she would have produced a detailed drawing of one of the leather shoe buckles that had been left lying in the sand. Therefore the title of this time-consuming picture was ?Schnallen braucht Zeit? (Buckles take time) (2000) a pun on words and allusion to the long time spent in the desert and the encounters with another culture and lifestyle, another life environment.
In 2007, after a respectfully nursed friendship had developed through numerous stays with the Tarabeen, Husar was looking for another allegorical image for the flow of information and found it in the umbilical cord of desert goats, which seemed to her to be the greatest possible contrast to urban neurotic connections. For her DATA EXCHANGE project she wanted to try and install the umbilical cord as a new trading item between herself and the Bedouin women. A trade that was to communicate the primordial data strands of this culture to a western context and also support the networking between the local women. Husar soon learned, however, that under no circumstances would the Bedouin women sell the cords, even if the remuneration seemed lucrative to them. Together they thought up an alternative to expedite Data Exchange. Today, Husar owns a herd totalling eleven desert goats that are watched over by an old Bedouin woman when she is not there. So far she has collected nine umbilical cords, but it will take a while until she has enough for making a hammock (her current plan). Looking at the dried cords, they appear like memorial items to the vital function they once fulfilled. A somewhat alien presence in a flat in Vienna.
Barbara Husar says that in her work she wants to collect cultural data of the women whose ancient tradition is about to change drastically. She makes it very clear that what she intends is not an objective collection and documentation of the habits or life contexts of - the other. Her current film ASTRALSKULPTUR (2008) is certainly not a documentary that conveys its meaning in any immediate form. On the contrary: Husar is not afraid of creating in her work multi-media organisms that do not engage in the practice pursued by many others of producing quickly digestible data about foreign cultures. Instead, in pieces such as astralskulptur she celebrates the subjectivity of experience and invites the viewers to get engaged at a point that seems vital to them. For me, the gateway to her universe is the graphical link-up between the levels of experience. The point where Xeroxed photographs, that have been postedited by drawings, colouring, stamps and handwritten notes, suggests the multilayered character of this story and the temporal levels of Husars multi-media organism.
In December 2007 Husar wrote the following comment: data exchange has been installed. I have exchanged seven umbilical cords for grants, a golden ring and plastic tarpaulins. I have acquired a herd and this impulse is now procreating in the most uterine sense of the word across the pond and it can be perceived as a living organism whose data flows I will henceforth document in a process-oriented manner.
Information sources & symbolical resonance
by Tobias Noebauer 2007
Imagine the following ensemble: A Viennese artist (Aida Galactica) flies to Sinai with an airbus A320, trades two laptops (CISC x86-32 bit, 90 nm CMOS) for a two-wheeled trailer, drives through the wadis together with a local friend (Salama Farrag, 38 years) and a rhythm-therapeutic Arabic-interpreter (Milena Gartler, 32 years) in order to meet nomad-women and to exchange tent-tarpaulins, golden rings or home-brewed eau-de-Cologne for umbilical cords of sheep which she requires for her work-cycle about the flow of information. Furthermore included on the tour are flying dragons with hand-knitted red strings, a Swarovski-catalogue with various knot-patterns, sandals made of West-African waste-tyres and cigarette-paper.
The Viennese autonomic system for the promotion of network-art and network-culture (netznetz.net) has already decided to support this project financially before. In the meantime there appeared certain (not to be taken serious) assumptions on the list (by GNU, Mailman, Python), whether or not the laptops would benefit terrorists or fundamentalists, which could have been the case anyway.
Wanted: The number of the reality-abstraction-layer, on which this ensemble steps into symbolical resonant self-interaction and proves itself as meaningful natural form. Through the umbilical cords of the nomad-sheep, the entire blueprint for new sheep is delivered. They are broadband-cables and intimate body parts at the same time.
In the beginning some nomads are uncertain, if Allah allows them to accept this new definition of the umbilical cord, turning it into a symbol for non virtual data packets, as before they had already been giving their own spiritual meaning to it apart from its biological importance.
However, in personal, concrete exchange models can be found which enable the artist to become a midwifery data-flow herself with the cords in her hands. Through Data Exchange Barbara Husar succeeds in creating a surreal sculpture out of extended information sources, life-forms insensitive to hype and the reciprocal dependence of tool and myth, the oscillation of symbol and object. Her fearlessness when it comes to trans-cultural communicative catastrophes is well-founded in humour; her vocabulary and inventory are extensive, her stories inspiring.
A story of buckles, chip pans and umbilical cords
by Anna Rabbel, 2007
About the multimedia-based thread in Husar s symbols of connection
The big buckle bang took place in 1998 at the primary rocks of Sinai in connecting delight by means of disused nomad-sandals, that otherwise only linger on in the transformation-process by light-rivers into eternity. These relics on full paths, credentials of human contact between heaven and earth mostly elect themselves with meaningful buckles. On sunbathe-dried hardened shoe-formations these buckling mechanisms become acute stimuli of Husar?s neural desert track.
She links these connective intermediaries and bridge-builders with the emblem of permanent synaptic information-transfer in all our nervous systems. In Greek synapsis means connection and if you get this, you understand what buckling means.
After an intensive work-cycle about the buckle (diploma: buckling takes time 2000, big buckling book 2004) and the invention of happy synappys, the fine-material neural stimulants, she addresses herself to the chip pan as multi-dimensionally altogether buckled network and transforms them into meteorite traps.
Another station for receiving is a silvery uterus with raised ovaries, which by good fragrance lures to join an information-marathon. the limbic obedience as well as the olfactory transfer between worlds are expressed in the foundation of the olfactory. Among other things, also the herd-smell of the Viennese network-culture is determined. By all this, connection and network are prepared inside the lyrically cosmic chess of Husar. In 2006 this leads to economy class, a critical orchestration about the stiff mechanisms of the art business. Within one month, an exhibition- and network-project with more than a hundred Austrian artists is persistently realized successfully in Kenya.
In 2007 (after buckles and chip pans) her search focuses on another basic material for the flow of information, becoming manifest in the umbilical cord. The project Data Exchange draws a flowing bow between urbane neurotic and archaic rhythm. In the course of this process, Husar wants to knot a hammock from the umbilical cords of her own herd of desert goats. Abstract communicative mechanisms are worked out in various media. It always starts with the drawing, by which free thinking processes localize themselves and are condensed to entire organisms. Current approaches point at the mechanisms of the global flow of milk.
anna rabbel february 2007
the central thread in husar's artistic work now zooms our view into the umbilical cord as data-string. it's about the flow of information that finds its artificial bodies inside the umbilical cords of desert sheep. the procurement of the new material (after buckles and chippans) connects the archaic world of the desert with the information-smog of the west and by this becomes an art-act doing umbilical-cord-splits.
by this project of data exchange bedouinwomen from the tribe of the tarrabeen/sinai, who live alone with their flocks in the wadis, receive the possibility to establish new merchandise and an interface for the communication with other cultures. on the basis of a near relation of husar with this tribe cultivated for 10 years, the resonance to the first discussion in the place about the idea in january of this year was quite positive. though there are doubts if this trade is allowed by allah, because to the tarrabeens it's a piece of soul, some of the women accepted to take some safekeeping boxes to have the option of collecting sundried umbilical cords of their sheep for the artist. the negotiated price still turned out to be unexpectedly high, in fact one hundred egyptian pounds that correspond to approximately thirteen euros per data-string. during her next expedition in March barbara husar plans to even buy her own small flock of sheep to exclusively get produced stem cells in this desert world. thus the navel-cables may transfer exciting stories into their new context.
ABOUT BARBARA HUSAR
Bella Prinz, Vienna 2006
The meaning of Husars representatives develops from a gravity-free context, around which they grow up and glide through in diverse constellations. Nerve cells, meteorite traps, buckles, synapses, chip pans, wombs, happy synappys, receptors, pheromones, wigs, sand-grains and umbilical cords deprogram the illusion of separability within her encounters with them. By drawings, preferred to be born on extended travels through the desert, new perspectives and buckle-connections are explored. These experiences turn into transmitters of realities. They get embedded into olfactoric sculptures, neural dinners, fried paintings, installations, performances and films.
Looking at the works of Husar, considering meteorite traps inside nervous systems and neural dinners on uterus-planets, on these paths one meets networks of infinite solidarity of everything in existence. All is one and parallel individual.
It?s about boundlessness without ending up in an effusive downfall of exaggeration, a rhythmic hiking on without stress and hurries. The holy feminine is present all over and she doesn?t need to screen men in a feminist way because the polarization and patriarchal sits at a different fireplace anyway.
The buckle-connections tell about the harmony between the sand-grain and the synthetic fibre. Like Bella Sutra lingering in orgiastic sexual intercourse with Franz Kafka. Nobody is excluded from buckling up. The information is free like the coordinates of our being; ready to open up for those, whose entrances are accessible as well as for those who don?t shovel snow to clear the way for their neurotransmitters. Chemical primordial material rests like a yogi in the core of each cell. The uterus-planet is a membrane-receptor inside the universal organism.
All invented, self made imaginations and facts are sincerely welcome to define themselves again. The relationship between all things will no longer be pre-decided.
One communicates without sound, transparent, woven through past and future and not the other way around.
BACK UP - michael lampert
Palais Thurn & Taxis, Bregenz, January 2006
The works of Barbara Husar are enriched with a multiplicity of information. This is associatively combined, utilized and reaches an intermedia complexity, which is revealed to the observer as expanding network, stabilized by numerous cross-references within itself. It is essential to dunk into this universe and to follow the neon-pink thread. Experiences become legible, conditionings are checked and aesthetics stand in continuous correspondence with synaptic orgasms.
Though this procedure refers to data processing, the pursuit of mega-pixel and gigabyte, its thematic origin is nevertheless found in small sources far away from the information era. In the desert?s information vacuum of modern times, improved sensitive instruments are needed in order to experience the qualitative and quantitative pieces of information which have been available for millions of years.
In religion-founding mood, Husar creates the buckle as universal metaphor and elevates this simple connection to substrates for metaphysical and neural processes as the first brick in her wall. The expansion into space and the integration of the distance into the innermost, both experienced inside the huge sand-pits, becomes manifest in the oil-cycle landscapes between thoughts.
This consciously unconscious flow is to be seen alongside a commented buckle-cycle about the thoughts between landscapes, the big buckling book, which means a change of perspective in Barbara Husars typical acts of reflection. The motley delicate prints on cigarette packets, serve as tickets on her journey off-road into the brain.
By the simplification of all terrestrial into neural processes, she creates the cyberspace-midwife, who transforms thought-space and helps to get into the world. She offers happy synappys for fine-material neural stimulation, deprogrammed chip pans in multi-dimensional networks buckled together, used to catch meteorites, and lets hover the uterus (receiver station), an olfactoric textile-sculpture with raised ovaries, smelling like lilies, possibly in search of a new planet.
In this backup she uses all of our absorptive cells to create this multi-dimensional sculpture that eventually decorates her works.. Barbara Husar knows how to conceive legible contents, she masters the human existence in all its facets with disproportionate ease and by this brings the most original task of creating art into our time.
Phenomenology of the implausible object
happysynaps in the 5th dimension
Stefan Lutschinger and Jan Lauth
The power will be sent into a power-media-modem which can translate or change it - into energy production for brainwaves: to make love, peace, war, time-shifts and intrapersonal brain connections.
Behind the label happysynaps stands the sculptor Barbara Husar. Her implausible objects are taking an exceptional position in the Austrian landscapes of sculptures.
Five statements about the meteorite trap:
1. Objects, whose operative implausibility is detected, are frequently resident in the fourth or fifth dimension.
2. Often it s the art itself - but sometimes it s also sketches of prospective media instruments, which equal the status of an art prototype.
3. These sketches of senders and receivers from the fourth and fifth dimension, the level of non-linear time media and the level of AI, can be understood as drafts of communicative devices or artificial sense organs.
4. We have already experienced such installations and drawings about 80 years ago, put on paper by Russian constructivists like K..S. Malevich or L.S. Popova, but even much earlier, like for example the sketches for instruments and their sculptural and practical prototypes for the conquest of the third dimension in the works of Leonardo da Vinci.
5. By the creation of the meteorite trap we ve got such a sketch for reception- and interception instruments, which are used for extraterrestrial energy extraction.
BIG BUCKLING BOOK - Lena Lee 2005
Aida Galactica Offroad
Before the image, there was the desert
The soft-hoofed sandals of my honorable vehicle, which was travelling mine with dignity, now suddenly nearly stumbled across that numerous appearing particle in our orbit: isolated buckles, remnants of visiting steps, which by imagination manage to snap what is worth, transferring stimuli to my frontal sinus, which - of course being naturally grabbed - right away breeded the sensitivity of a Self-pictured cyberspace, this prefered synapseplay of intersubjective machineries. And simultaneously, some mines stired joyfully, straining my ears, while sundry emissaries were dancing in line, etheralized, here, now, in free-from-space-and-time or as well in that glowing cavern, built by stone and therefore just like the realized crumbling buckles apparently everlasting adamant, not transient like the surrounding leather.
Al(l)so I buckled mine, setting my traces on that sandgrain-souled plain, which dragged on under my long-legged, humped information-porter, which I seeing clearly nicknamed Cam - just like equals call their photographic memory, holding onto the turquoise hairline, midst deserted distance and blue width, while beduins bubble rainbows from soap till the trace-mythical reflection of Orion and his peers illuminates from nocturnal black.
Inbetween the forthcoming water supplies, in which dofish - awakened out of tins - laudable like to snap, I'm swaying myself in silent linking, shifting like synaptical action before the next mitosis, more than just any de-identified bag of nerves, namely me, having spherical escaped from dogmaville, metabolishing the grounds of parallel universal buckling, simply sailing on the sea of fire, download activated, completed.
Possibly it's been this singularity behind the wondrous horizon of personal perception, which eternally planted that oasis-like transmission onto my mind, climbing up the supraconductor culminating in the blackholed vacuum of that interstellar Big-Mama-data-base, this exuberant source, which thus might have trickled the subsequent imaging into the light of the day.
Re-earthed but still at home, I'm remaining in this spirit whispering welcome to a cosmic spectacle, at its best possibly received in the intensity of a having-been-there. May by heart your glands rave and all the cells whirl waves, while surely galaxies keep floating, buzzing the buckled trace.
happysynaps - lena lee 2004
HappySynaptic Cosmic Comic Headliners
Cosmicalized human species : Aida Galactica
Place of origin : Planet Uterus
Specialization : Hyperroom-Obstetrics
Existential task : Revival by buckling
Prefered aids: HappySynappies
Shortmessage to Yours:
For the optimization of the buckled trace,
metabolish yourself well, so that your transmitters can dance.
Since People remember, a whole lotta dreamers perceived them, the uterus-planetary bridge-builders between this side and hereafter, between outsides and insides, between awake and dream, those wonder-cure-mediators for intergalactic reincarnation. In the name of all earthly active cyberspace-midwifes from their universe of essential freedom, in this word-complex an experience-sketch of theirs is torn, in which their prefered aids, the HappySynappies, form golden keys on the floor by which the gates can be opened, if one only expects oneself to pick up the instrument, to take and to turn it.
To simplify matters, the biochemical nature of just those stimulators could be identified as cake-decorating sugar-sprinkles, but these particles also imply a biophysical component, that, for the complexity, is not to be overlooked. Aidas namely expose the sugar-molecules in miscellaneous, colorful formations to cosmic desert-energy, uploaded inside crystal geodes. Midwifely charged, they therefore form inexpressible rich energy boosters for not only their sort, because sun-star-light persuades endorphines to dance, in order to absorb still open aspects of all in all by activating new synaptical reactions. So it is about fine-material undulations, which consequently perfect your relationship to gravity, as well as they promote so far unknown neuronal infrastructures by which the sensations of heart-areas blast the walls and dreaming transmitters in cheerful serenity stabilize their lanes directed to the goal.
However, possibly human beings aren' t merely their highly personal nervous systems. Happy Synappies are symbols of the mastery of things, which we wondered not to be able to know. Answering, they reflect this ideal into our senses, we'd be able to penetrate into ourselves' systems and, in view of the relearned ability to determine our will from some intersubjective self in transpersonal hover, to simply transform to own and foreign welfare.
Be it as it is. Anyway, a Happy-Synappy-Induction enables the waiting half buckles to find the appropriate part and to dock, whereupon, as if they had never been seperated, the energy current of the central-axis Hara unhindered intently waves on and on, while the umbilical cords to their selves regenerate, starting a feeling-free from realitary irritations for the optimization of the buckling in lightning speed.
With that, the access to the cosmic concept of colossal extent is secured, far beyond time-factors, where pure rhythm realizes vibration, where ovaries, nurtured on the basis of galactic light-deserts, lift their arms instead of lowering them, where soft-hoofed vehicles escort you from one visionary place to the next, where kissed frogs turn out to be dicks-on-wings, that swarm around the illuminating euphorically, where buckles keep the upperhand to intervene and tie together what once has been thrown out of balance, where blissful freedom by means of ingenious information-processing unmasks the egocentrism of mad-making apparent cares' abundance.
The number of Aida Galacticas momentarily active on planet earth, is not easy to be estimated. But due to the fact that they have specialized in hyperroom-obstetrics, it is to be assumed, that all the already existing ultimative idealized reviving are continually multiplying. So, may the flying dicks in round, like all the cures effect the ground, as long as buckles buckles buckle, humming on a buckled trace.