Judith Fegerl
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  • Fegerl_anchors_objekt_2xanchors
  • cauter, 2015, Kunsthaus Glaruscauter
  • IMG_E4756concept for a church
  • DSCF6523chapel St. Markus, Linz
  • Phasenraum, 2013, Museion, Bozenassigning degrees of freedom
  • self, 2010, Foto: Bruno Klomfarself
  • Phasenraum, 2013, Museion, Bozenstitching
  • DSC03097reflux
  • Foto von Rainer Iglar, 2010Implant
  • ACF New York, Foto: David Plakkenystagm
  • MaBa_MG_3519-redsimulating intelligence
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Phasenraum, 2013, Museion, Bozen Phasenraum, 2013, Museion, Bozen Phasenraum, 2013, Museion, Bozen in charge, Taxispalais Kunsthalle Tirol, 2017 Foto: Gregor Sailer detail, Foto: Gregor Sailer in charge, Taxispalais Kunsthalle Tirol, 2017 Foto: Gregor Sailer in charge, Taxispalais Kunsthalle Tirol, 2017 Foto: Gregor Sailer wall extraction, Taxispalais Kunsthalle Tirol, 2017 Foto: Nina Tabassomi current reconstruction, 2012, Galerie Hubert Winter current reconstruction, 2012, Galerie Hubert Winter Galerie Winter, 2012

assigning degrees of freedom

2012 / 2013 / 2017



assigning degrees of freedom

2017 III: Taxispalais Kunsthalle Tirol, Innsbruck
2013 II: Museion, Bolzano
2012 I: Galerie Hubert Winter, Vienna

paravent, joints, wall- and floor resection, coating of glass-roof

Every location has specific properties that either more or less correspond to the ideal conditions for an exhibition space. And that is precisely the challenge that Judith Fegerl takes on as the starting point for her site-specific interventions, activating the room itself as material manifestation and as a body whose surface she exposes and manipulates. The resulting effect relies just as much on the observer’s standpoint as on the positioning of the installations themselves. Fegerl has engaged with the topos of architecture as body in her earlier works as well, consistently developing it further. She is interested in intersections and symbioses between architecture and body, the mechanical and the organic, technology and nature, carrying out her investigations by way of site-specific projects.

A room divider made of movable panels is attached to the wall like a prosthetic device, expanding the wall’s original surface out into the exhibition space. The term “degree of freedom” is used to describe the number of movement parameters for a rigid body in space that may vary independently. The artist’s interventions thus signify an extension of the “scope of movement” for the exhibition space.

Excerpt from the text “Phasenraum. On the Surface of Architecture.” by Georgia Holz