Category Archives: Residency

Prosthetic memories

Soloexhibition Brig, CH

Als Gast des Kunstvereins Oberwallis (KVO) und der Stadtgemeinde Brig-Glis arbeitet sie im Atelier im Fernanda von Stockalperhauses. Was dabei entstand und noch entsteht, zeigt sie ab kommenden Samstag unter dem Titel «Prosthetic Memories» – also «Erinnerungs-Prothesen» – in der KVO-Galerie «zur Matze».

Zu entdecken sind dabei tragbare Skulpturen aus alten Büchern und mit aktuellen Texten und Zeichnungen, mit Heiligenbild und Text überzogene Lammschädel sowie Lesehölzer. Was sie mit ihrer Kunst will? «Sachen, die dem Zerfall und der Zerstörung preisgegeben sind, konservieren und damit alten Dingen ein neues Dasein ermöglichen», antwortet uns die Künstlerin bei unserem Atelierbesuch.

Lothar Berchtold, Walliser Bote 2.7.2020

Swiss Local TV Station
Walk Through the Exhibition

Brig Glis – Swiss residency

Working for my solo exhibition ‘Prosthetic Memories’ in July.

Wearable paper sculpture, taxidermy objects and some Covid related drawings. Three month in pandemic exile. It’s only storming in my memory.

Born in isolation, the project “Prosthetic Memories” was originally inspired by Max Frisch’s story: Man appears in the Holocene. “Disasters are known only by man, nature knows no disasters” writes the author. His protagonist, alone in a valley in Ticino, he deals with the loss of memory in the narrative.

In her works, Anita Gratzer unites with the literary figure in search of protection to escape this disappearance and oblivion. In her studio, she produces prosthetic memories, portable sculptures that wrap and shield the fleeting. These garments made from antique books, stamps, ration cards and lonely diary entries form the central part of the work. They are flanked by modelled animal preparations, which seem to emerge from an inner chamber of curiosities. “Sonno Sottile”, she calls these calvariae covered with prayer books, signs of the erosion of knowledge and nature. The vegetable counterpart to the animal skulls are reading woods, which she assembles from finds from the Saltina Gorge and 150-year-old Brockhaus editions to create fantastic fragments of knowledge.

In exile since March, Anita Gratzer has purified herself from the triggering affect, that literary inspiration, and brings us a transience of the currently so enormous narrowing of the world. Her attempts to hold on to memories become such memories themselves and thus valid works of art of her own agony.