Austrian artist Marlene Hausegger (Leben, 1984) intervenes in public spaces by acting directly upon squares, courtyards, green areas, on the facades of buildings, and near abandoned structures or construction sites. In a seemingly spontaneous manner, the artist infiltrates places in order to perform quick actions or to introduce minimal elements which can be seen only from a particular perspective. Most times it consists of temporary interventions whose trace permanently lasts only in video and photographic documentation. The artist prefers simple materials such as adhesive tape, plaster, color and the use of everyday objects. The choice of an ironic visual and playful vocabulary is an expedient to re-contextualize the site and to trigger shifts in meaning thanks to historical-artistic quotes, reinterpretations and accentuations. The interventions of Hausegger reveal a strong adherence to the context and what deeply distinguishes them is that they become an instrument to investigate the political and social urgencies of our time.
San Vito al Tagliamento is surrounded by canals, and in general water plays a major role in the city structure. Inspired by the drawings of boats present on the prison walls, I developed the idea of an installation which would show rowing oars sticking out of the garden. I want to show a functional tool which helps one move forward in water in an unusual position. The oar blades on top are colored differently on each side. When the wind is blowing, they will rotate on top, and, by doing so, change their color and allow the sculpture to come to life. After a certain amount of observation, the ostensibly playful installation will elicit a deeper, metaphorical perception. As one of the most primordial principles in natural and human history, movement is always in relation to its surrounding circumstances: therefore, despite working against it, powerful forces will not succeed in eliminating it.