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BIRGIT RAMSAUERS’S VIDEO POEMS AND ENVIRONMETS: THE PERFORMANCE OF ABSENCE | Review By Robert C. Morgan, New York 2007 | I am very fond of Birgit’s Ramsauers’s films. She works in DVD, as do most film artists today, with a coherent sensibility that is intuitively calculated — very much like the best experimental films during the early years of cinema. She is not at all oblivious to her sources, which include May Ray, Hans Richter, Viktor Eggling, Fernand Leger, and Maya Deren. In contrast to these seminal film artists, Ramsauer has pushed into the twenty-first century, using complex forms of digital editing, mixing black and white with color, dramatically articulating positive and negative lighting with subtle juxtapositions of narrative form interspliced with rapid flashbacks. ... more

AIR CONDITION | Review by Alexander Laudenberg, Berlin 1999 | And we approach the new-old border, still the border to Kreuzberg - today the meeting point of two districts - not more, not less. There on 2nd of July 1999, 9:00 a.m. in Parklands on the Puschkinallee Birgit Ramsauer begins her Berlin performance, last stage in the sequence ART : HOME - LESS New York, Moscow, Marseille. From here the walk along the length of the disappeared wall, along the imaginary east/west line - Berlin. Start of a long hike. ... more

BIRGIT RAMSAUER MAPPING THE SOCIAL BEHAVIOR | By Ombretta Agró, New York 2002 | French conceptual artist Daniel Buren, since the beginning of his career in 1965, declared to be in search of "the last painting". He has been famous for covering any type of surface, from paintings to walls to flags and waistcoats for the museum attendants, with owning-like stripes. He called this unmistakable signature "a seeing tool" and used it as his trademark to question the function of the art museum and other "official" exhibition spaces in the contemporary context. ...The issues addressed by these movements remain part and parcel of the praxis of contemporary artists working within public spaces Ramsauer's work can easily find its own niche within this debate With ART:HOME-LESS, 1997-1999, one of her most complex, socially engaged, as well as "public" works, she explored the phenomenon of being homeless in various cities around the world ... more

BIRGIT RAMSAUER’S MOSCOW DIARY | Report by Georgi Litichevskj, Moscow 1998 | Birgit Ramsauer's three performances and installation are the core of a project spanning several months and took place in New York, Moscow, Marseille and Berlin. The three performances, the exhibition and the finale took place at the beginning of July. Prior to this three month research was undergone during which the artist collected and prepared textiles and settled into the real atmosphere of the city. As far as possible she tried to penetrate Moscow's unique characteristics so that she differentiated the approach to the theme from that in New York. ... more

ART : HOME-LESS | By Claudia Schmuckli, Curational Assistant at Guggenheim Museum, New York 1997 | Home: legally the residence with a permanent address as a place architectonically defined and to be located geographically, socially the house as a social or family institution and emotionally the home as a place of belonging, an emotional anchor for intimacy. "Less" is less and still means more when used in conjunction with home: Less as a progression into an absolute - without a permanent residence, without house, without a home. People who are referred to as homeless don't seem to have anything, neither a residence, nor a house, nor a home upon which their existence is based. ... more