ANNA-SOPHIE BERGER

Anna-Sophie Berger (b.1989, Austria,lives and works in New York and Vienna) creates work that connects individual perception and intimate use with questions of materialreality as part of socio-economic circulation and consumption. Populating the body as much asspace, her objects freely traverse sites and systems of value, physicallyand through image. While preserving this mobility they complicate a reading as discrete objects,encompassing elements of material transience such as decay, malleability or modularity.

Berger has presented solo exhibitions at: MUMOK, Vienna; Kunsthaus Bregenz;21Haus, Vienna; JTT, New York;and Emanuel Layr Rome. Her work has been included in group exhibitions at: MUMOK, Vienna; S.M.AK., Gent; Kunstverein München, Munich; Contemporary Art Center, Vilnius; Lodos, Mexico City; Rogaland Kunstsenter, Stavanger; Salzburger Kunstverein; 9thBerlin Biennale; Künstlerhaus, Halle für Kunst & Medien KM-, Graz. She is the recipient of the ars viva award 2018 and the 2017first Kapsch Contemporary Art Prize.

www.anna-sophie-berger.com

PROJECT PROPOSAL FOR BFSP #03
As opposed to human and mammalian endoskeletons—a bone structure within a body covered by flesh and skin—the exoskeleton of insects and crustaceans covers the inside of the living organism with a hard shell. This shell is not flexible and as the animal grows it will have to shed or molt its skin. This process is not just biologically very interesting but alsolends itself to a poetic reading and reflection on the process of mold making. The growing body of the animal pressesagainst the ever tightening outside skin, whereas it eventually breaksopen to expose a new, larger animal. It can thus be seen as a metaphor for change. Ultimately, the relationship betweenskin and animal is a dynamic one: the shell contains the precise shape of the body while the body becomes the mold for every new shell. As a spectator the molting seems like a violent action. What the animal sheds is nothing less than the precise detailed copy of its body. Ghostly, this exoskeleton remains, floating in water: an image, a copy but only for a moment, since the animal has grown. What I therefore would like to do is to cast the empty molted exoskeleton of a crawfish to give permanent shape to an iteration of the growth of a living organism. (Extract from Anna-SophieBerger’s proposal).
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SELECTED WORKS

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