Carmen Brucic - In empty mirrors

THE STUDIO OF A FORMER MUSEUM CONSERVATOR
In her exhibition "In den leeren Spiegeln..." at the Tiroler Volkskunstmuseum (25.10.2019-16. 02.2020), Carmen Brucic presented the portrait of an artist's apartment that has just been abandoned by its occupant. Immediately after the Tyrolean painter and sculptor Wolfram Köberl moved into nursing home, she was given access to his personal living space, which served both as a studio and a refuge. In the present shadows and mirrors, Brucic encountered the traces of a love of painting as well as the doubts, struggles and warmth of an entire life. The photographs, which record her encounter with this atmosphere, were shown together with the artist's everyday objects.

Questioning whether this makes a biographical reconstruction possible or whether the contemplation of another life is always just a reflection of one's own self. Brucic was concerned with what it means to enter an abandoned private sphere. The historical rooms of the Tiroler Volkskunstmuseum, which had once been part of a private everyday life, were part of the exhibition and adressed as museum-like staged living spaces. With a contemporary room installation and texts on the photographs by Carmen Brucic, young people complemented the exhibition and the museum with new narrative techniques.


Carmen Brucic
, born 1972, lives and works in Vienna and Tyrol. Brucic is known for her participatory working methods. She works on emotional themes in media such as photography, theatre and staging performative interventions. Since 2001, the artist has been conceiving artistic formats to deal with emotional subjects. Gnadenwald, Sehnsuchtszentrifuge (The centrifuge of longing), Die Liebeskranke Gesellschaft (The lovesick society), Symmetrien des Abschieds (Symmetries of Departure), Über den Mut sich zu öffnen (On the courage to open oneself), Degradation of a kiss ... At all times starting out from the image, her preferred medium is photography. The fruitful combination of photography, presentation, performative intervention, and a process-like, often participatory, unfolding of events has come to characterise her work.