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2020
Project artigathome for Südtiroler Künstlerbund

my home is my castle, dust artwork, dust sculpture

my home is my castle
dust, dimensions variable, 2020

 

my home is my castle, dust artwork, dust sculpture

Home safari - dust bunny
dust, dimensions variable, 2020

 

my home is my castle, dust artwork, dust sculpture

Home safari - dustswan
dust, dimensions variable, 2020

 

my home is my castle, dust artwork, dust sculpture

home safari - dusttiger
dust, dimensions variable, 2020

 

 

 

 

2019

concrete sculpture with book, franz josef noflaner, circolo lia mostra d'ert,

concrete sculpture with book, franz josef noflaner, circolo lia mostra d'ert

 

 

concrete kultur – für Franz Josef Noflaner
book, concrete, wood box, 2019, Circolo Lia Mostra d'Ert, Ortisei

Il lavoro “concrete kultur – für Franz Josef Noflaner” è legato alla figura dell’artista gardenese Franz Josef Noflaner
(* 1904 † 1989), in quanto ex- proprietario del libro che mi è stato consegnato, come dimostra il nome ancora leggibile sulla prima pagina.
A fare da base al mio lavoro però non sono stati né i suoi quadri né i suoi scritti, ma il quotidiano mestiere di manovale edile svolto da Noflaner durante tutta la vita.
Quindi il rapporto non sempre risolto tra vita ed arte, che nel caso di Noflaner assume l’aspetto esemplare di una problematica che non è estranea ad alcun artista.
Ulteriori interpretazioni sull’attuale ruolo dell’arte e della cultura sono ovviamente possibili.

***

Die Arbeit "concrete kultur - für Franz Josef Noflaner" ist mit der Figur des Grödner Künstlers Franz Josef Noflaner
(* 1904 † 1989) verbunden, welcher - wie der auf der ersten Seite noch lesbare Name zeigt - ehemaliger Besitzer des mir übergebenen Buches war.
Doch als Grundlage meiner Arbeit, dienten weder seine Bilder noch seine Schriften, sondern die tägliche Arbeit als Handlanger bei Baufirmen, die Noflaner sein ganzes Leben lang ausgeübt hat.
Die nicht immer so leichte Beziehung zwischen Leben und Kunst also, welche im Fall von Noflaner zu einem exemplarischen Verhältnis dieser Problematik wird, welche keinem Künstler fremd ist.
Weitere Interpretationen zur aktuellen Rolle von Kunst und Kultur sind natürlich erlaubt.

***

The work I did for the collective exhibition "Die Andere Seite", is entitled "concrete kultur - für Franz Josef Noflaner" and it’s linked to the figure of the South Tyrolean artist Franz Josef Noflaner (* 1904 † 1989), former owner of the book that was handed to me, as evidenced by the name still legible on the first page.
However, it was neither his paintings nor his writings that served as the basis of my work, but the daily job of construction worker carried out by Noflaner throughout his life. So the often difficult relationship between life and art, which in the case of Noflaner takes on the exemplary aspect of a problem that concerns many artists.
Further interpretations of the current role of art and culture are obviously possible.

S.W.

 

 

 

2008

 

manifesta 7, wellness, kunstinstallation,

wellness room installation, 2008
Gerald Demetz
Diego Perathoner
Sara Welponer
Parallelevents Manifesta/7
, Circolo Lia Mostra d'Ert, Ortisei

Description
The room installation is made up of a 5m x 5m wooden platform ramp, on which bathtubes of different size and form
are placed on two levels. The bathtubes are supported by a framework and made of fibreglass by the own artists. Some
tubes have traces and pieces of human bodies, shadows that are exposed directly on the fibreglass with fotography techniques (or on texture inserted in the fibreglass).
A hydraulic system of pumps and pipes links the various bathtubes in order that the water can cyclically fill and empty them.


wellness
The choice of this topic was suggested by the spreading of wellness centres and spas, the so-called wellness phenomenon, with it socio-economical effects and, on a psychological level, the comforting or even magical/thaumaturgic significance that is given to such centres.
The need to seek purchasable wellness – well-being – the feeling of well-being, which can be found in specific places and organised for specific periods, could indicate a lack of well-being in everyday life.
The purpose of this installation is not just to question the effective benefit of the treatments or the spreading of this phenomenon, but also the standard and pretended need of wellness, which turns well-being into a form of escape from everyday life encouraged and appreciated by the whole society.

S.W.

 

 

 


 

 

 

 

 

 

 

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