27.07.2012 12°°-13°° Documenta 13, Transformations I-IV ( 2012)Video and live performance at the Documenta(d13) in the pavillion of the Critical Art Ensemble (CAE), Documenta Overview Point 42 just north of the Railway Lecture HallFollow in a series of 4 videos the interventions and installations of a “globalized housewi.fe“ refusing to be a mere artist, thus trying to guard her authenticity and integrity by tearing down the wall between everydaylife and art while simultaneously reflecting her transformations from a girl born under Sovjet rule to a women migrating to the West,who lived and worked for 11 years on three continents in her quest to survive and express herself aesthetically while raising her family
Transformations I.........................................Transformations II............................. .............Transformations III................................... .......Transformations IV..................................... ..Transformations- the end
One of the main topics of the Critical Art Ensembles(CAE) at the Documenta 13 is the growing social inequality,at both the national and the global level, as a result of disparities in access to the opportunities offered by globalization. This applies in particular to the conditions under which the vast majority of artists have to work and live worldwide,for instance from the 1,7 million citizens of Hamburg 15.000 are registered with the local authrities as artists. Hardly anyone of those can make a living by selling their art.This is also true for Violeta Vollmer. Without access to recources, institutions, organisations and the established artmarket Violeta Vollmer, nee Dundulyte, choose out of love after the collapse of the Sowjet Union as a lithuanian migrant,who graduated in free art with honours of the university of Tallin in Estonia the role of a“globalised Housewife“, who could not be kept from reflecting and expressing her own transformations since the end of the USSR and all that changes in the context around her that took place during her 11 years as an ex-patriot living, working and raising a family on three continents. Her intention was and still is to tear down the wall between everyday-life and the self-implementation in aesthetic self-staging. She won´t let herself be confined to the role of a mere spectataor,instead she keeps deconstructing icons and personal impressions as well as memories to transform the narrative segments of her globalised subconscious into a personal mythos.The latter may appear primarily individual,but may just as well evoke political effects – thus shown by the creation,the content and the destruction of the painting regarding the palestine conflict Transformations III and IV.mov). This painting demonstrates the potentially peace-building effects of aesthetic forms of expression- in this case that of music,which mutually attracts young Palestiniens and Israelis,who are not yet able to realise their dreams under the current political conditions.The painting may be perceived as a political and aesthetical homage to the seminal work of the Daniel-Barenboim-Foundation and the West-Eastern Divan-Orchestra,who with their forward-looking activities are not only symbollicly overcoming the obstacles created by the new wall built to seperate Israel and Palestine.
At the individual level of the video-and life-performance of Violeta Vollmer the creation, deconstruction,the destruction and the burning of the material work of art and the final awarding of its ashes ( from art to ashes ) in small boxes with text-messages to the d13-public refer on the one hand to the compatability of individual aesthetical and political actions
and on the other hand to the overload and excess of material art,which hints at the necessity to transform material works of art into digital and potentially viral art spreading of the beaten track of the established art market.