outside

urban landscape

urban intervention

inside

installation

space

live

live visuals

live cam performance

live literatur performance

literatur

lecture

interviews

 


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deutsch


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theory


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Stronger
 
Big, bigger, biggest… starsky’s art and ideas don’t know any limits. starsky has been pioneering video and projection art for more than 20 years. She has worked tirelessly to push the boundaries of her medium while simultaneously being relentless in probing her viewers‘ intentions. It is not enough for her to fascinate and tease the audience‘s visual sense. starsky also incorporates strong political content in her works, supplementing the videos and projections with performance, sound, and manifestos. The magical moment of transubstantiation ­­-- when analog turns into digital; or meaningfully expressed thoughts metamorphose into drivel; or the audience becomes the auteur -- is one of the aspects of starsky’s work that keeps it fresh and exciting. Burning money or turning spaghetti into sound are just two of the ways she has used to question our acquiescent slide into the abyss of consumerism and Orwellian doublethink and Newspeak. starsky, through her art, insists that we reclaim our heritage of freedom and begin to trust our own senses again. Sam Cooke once said in a powerful song “a change is gonna come”. starsky the visualist says with all her power, talent and technical genius: Just open your eyes – the change is already here.
 
Dr. Renée Gadsden  |  2015
 
 
Starsky's artistic position is another example for the practices of media/form-relations that took their beginning in the neo-avatgarde but in the period of only a few decades diffused into the culture of the currently emerging computer society. What is commonly known as as the cybernetic turn in culture reveals itself in starsky's work in the merge of art, creative industries, sociocritical-emancipatory and techno-scientific discourses. Julia Zdarsky takes a special space in todays audio-visual cultures due to her physical commitment to the creation of visual forms.
 
F.E.Rakuschan  |  vienna  |  2008
 
 
 
starsky cinema
 
Projection as visual art seems to be a pretty recent phenomenon, – on the one hand a large scale, public product of media art, on the other hand the visual companion of DJ culture; in total a hybrid in between art and commerce, public art and event culture.
 
With Starky it seems as if projection is as old as cave painting, as if it were the moving graffiti wall of the present. Just like a shaman, or like a desperate individual carving her basic needs into the toilet wall Starsky believes in the magic power of words and signs. And like a strong childlike soul she assumes that power will grow with size.
Legendary is her wall high poetry of old and new variations of Viennese dialect, an outcry of an existence wild with longing and resistance who finally has found an adequate forum of expression; yet nevertheless does not leave traces in the fleeting medium of artificial light.
 
Meanwhile Starsky’s art of projection for many contexts, for art festivals, political occasions and club events, has further increased its versatility and light elegance. In a smart reflective move it depicts its own means of production: keyboards, scales, letters, creating layers of projection. The outcome is not a dry conceptual circle of reflexion but an easy flow transforming technical elements in floral ornaments as if there were no author.
 
Precisely there Starsky’s spirit of carefree media mixing intervenes; high tech is kissing low tech and a hairdryer is blowing into a bowl of popcorn; a new visual, transitory and glorious, is emerging – in the cineplexx of synesthesia the frontlines are mixed up.
 
Starsky’s projection is the palimpsest of a polymorphous-perverted, urban-global cosmos, –
it shines as if it has existed forever.
 
Katherina Zakravsky  |  cultural theorist, performance artist  |  vienna  |  2009 
 
 
 
starsky is a master of interactive real-time projection of moving imagery. Her focus is on video, animation, and the inscription of multi-dimensional imagery in urban architecture. When interacting with public space as starsky does with their huge and large-screen projections on the facades in a world turning more and more urban one can also pose the question in a different way: when is the moment of "inside", where the moment of "outside"? How does one deal with this question? "Once you have a projector, you work with light. Light is space," starsky says. She designs immense spacial constructions composed of light, urban objects consisting of moving images full of symbolism. Preferably, she transforms glamorous buildings and architectural representatives of hegemonic power concentration to mere objects of light, which - through the inundation with dynamic imagery elements - start to move on their own, start to talk by themselves. starsky works both with and in architecture, she communicates with architecture, as in – how did Cicero say? - "we make buildings and the buildings make us."
 
Alexandra Reill  |  kanonmedia, ngo for new media  |  Vienna  |  2010
 
 
 
starsky has a visual style that is at once percussive and playful, baroque and yet basic. It is the interplay of the seemingly naive and the politically pointed that charaterises an artist whose work is like the smile of the chesire cat in "Alice in Wonderland" - both present and absent at the same time. Starsky's images float in the mind; codes that need to be deciphered. She projects jokes whose punchlines hang in the air like soap-bubbles, delicate and shimmering, plump in the pregnant pause before the audience bursts into laughter. 
 
The repetitive use of one form of typography for both her political and sensual work give starsky a recognisable style, which makes her work easliy distinguishable from the mass of other projection artists. The use of viennese dialect in her pointed text messages gives her work a flavour that is rooted in the tradition of Austrian experimental poetry and literature that produced artists like Ernst Jandl. Starsky's love of colour, bold forms and the inclusion of creatively chaotic visual elements such as live cooking on a live projection-camera, place her firmly in the rich baroque artistic tradition of her home town - Vienna.
 
Frederick Baker  |  Autor "Art of Projectionism" Czernin Verlag  |  vienna  |  2007