YYYYMMDD: What are your unrealised projects?

STEFAN REITERER: I can't really tell. I try to think more in the direction of 'not yet realised' projects than in 'unrealised' ones. In my case the 'unrealised' could be seen as 'not realised for good'. And they will stay 'unrealised' because of specific reasons.
As I am working in series, I get a lot from repetition and sticking to certain topics.
So the idea in the beginning of a project is still visible for me, but it did lead or could have led into various directions.
I remember when we were talking about your diploma work, Daniela, we mentioned this nice situation or sensation: It is this point in the development of an artistic practice where you start to realize that a lot of different elements of former projects suddenly find each other and fit together like pieces of a puzzle.
For example, when I started my satellite-picture series, I painted the images on some sculptural elements first and I was thinking of a whole furniture kind of thing to continue with it.
But then suddenly it made so much more sense to do it within a very classic tableau-painting framework.
After some years now these ideas, how to work with this material, pop up again. And I am glad I didn't put an effort to realise them in the first place because when I get back to those things today, I can push them further.

YYYYMMDD — Interview Stefan Reiterer — http://www.yyyymmdd.de/interview-stefan-reiterer.php

no title ('texture mapping' series)

5 x 10 x 0,4 m, oil on fabric, plastic stripes, wood on metal structure
Stefan Reiterer, 2015

Which projects could you not realise under existing conditions?

None, and I tend to think that whether a project is possible to be realised or not, is not my biggest concern. I have never been close to some kind of decisions like 'Hey, let's put an enormous mirror on a truck and drive through the city – that could look awesome!' or 'Dear Chinese painter, please copy these images on 100 large-scale canvases, thank you!'. I hardly ever had problems with existing conditions, facilities, funding my projects, etc. But I'm no film-maker and I never really tried to make public art by now. I reckon that in the end it is always about an idea stuck in someone's mind – if it happens to be a good idea, it will find its way out.
This is why I really like architecture exhibitions about fictional projects with models, renderings and so on. Your brain can get flooded with visions and imagination and in my view the projects do not necessarily have to be realised at any point.

YYYYMMDD — Interview Stefan Reiterer — http://www.yyyymmdd.de/interview-stefan-reiterer.php

Prof. Dr. Oskar Strnad - Modell einer Grünsiedlung am Laaerberg, 1923

For example I've been to a big Matthew Barney exhibition at MOCA, Los Angeles recently and it was a just big collection of props, produced in the most ridiculous expensive way. There were huge casts of sulphur, epoxy resin, or any kind of metal you could imagine. I know that everything there was connected to the 'Barney-universe' in combination with the movies and so on. But in the end all of this wouldn't make the show any better.
And on the other hand you have the work of artists like Josef Strau or Rita Sobral Campos - without any unnecessary pomposity but with precisely put text and other elements they are able to gently drag you into another world, full of wit and referentiality.

Matthew Barney, Water Castings
MOCA - Museum of Contemporary Art, L.A.

5th Heresy: The Neuros
16mm film
Rita Sobral Campos, 2013

How would we find the means to realise them?


Let's Paint, Exercise & Play Ping Pong!
Let's Paint TV, 2008

Stefan Reiterer is an artist living and working in Vienna, Austria.
He is currently co-organising the artist-run-space New Jörg.