196:, explaining her rationale and explaining that she "uses art institutions as forums where hierarchical, social and economic models can be tested and reimagined. This piece is a part of a series of artworks and performances, which Anwander has developed since 2004, playing with the link between art institutions and market."
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of the exhibition labels she had stolen from art galleries and museums. The installation is also intended as a travel diary and
Anwander states that its purpose is to give the viewer "access to my innermost, to the works accompanying my artistic career."
73:. Her work has been featured in multiple solo exhibitions in Europe and the United States since 2009. Much of her work focuses on challenging art institutions and their conventions.
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as a regular visitor and, unauthorized, French-kissed a wall she had chosen. She then affixed a label identical to the labels used by
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which purported to be the world's leading art magazine, leaving only the blank magazine and the ink from the pages on the tissues.
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In 2012, Anwander staged an intervention and placed a block of limestone weighing two tons in the city centre of
112:. Hereby I'm highly interested in the creation of notional images by removing other already existing images. The
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Anwander staged an intervention in a public space where a public dance floor was installed in the middle of a
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In 2013, Anwander stated that "my work mainly questions authenticity of artworks and the gap between the
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of images into pure descriptions of themselves and vice versa is part of my deliberations."
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In collaboration with
Aubrecht, Anwander placed embroidered pillows with statistics about
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who attempts to tell her about her personality through looking through her portfolio.
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and the artist as participator." She adds that "my latest works deal with issues of
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358:"Leonardo Electronic Almanac – Interview, Statement, Artwork by Maria Anwander"
326:"Maria Anwander "In a Certain State of Uncertainty" – Kunst Halle Sankt Gallen"
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520:"An Ongoing Conversation with Maria Anwander, Part One | Two Serious Ladies"
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on couches in luxury apartments, hotel lobbies and exclusive restaurants in
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544:"An Ongoing Conversation with Maria Anwander, Part 2 | Two Serious Ladies"
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which read, "JUST ANOTHER WORK OF ART WHICH WILL NOT GO DOWN IN HISTORY."
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Anwander filmed a 32-minute video where she met with Adolfo
Profumo, a
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Anwander used tissues to remove the ink from the pages of an
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in 1980. She studied
Theater, Film, and Media Science at the
464:"Casino Luxembourg ⋅ Artist residencies ⋅ Been Present"
89:, graduating in 2003. She earned a degree from the
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241:Anwander and Aubrecht created a 100 x 280 cm
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151:The World's Leading Art Magazine (2009–2013)
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250:Untitled (2012), in collaboration with
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136:My Most Favorite Art (2004–2011)
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188:In 2010, Anwander entered the
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330:www.kunsthallesanktgallen.ch
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61:(born 1980) is an Austrian
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610:People from Bregenz
444:"Curators' Network"
268:wealth distribution
93:in Vienna in 2008.
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362:www.leoalmanac.org
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579:Categories
553:2016-04-08
529:2016-04-08
505:2016-04-08
495:WETHEURBAN
473:2016-04-08
418:2016-04-10
394:2016-04-10
367:2016-04-08
340:2016-04-08
311:2016-04-07
278:References
226:Luxembourg
110:authorship
102:collecting
98:art-market
243:sculpture
106:ownership
77:Biography
44:Austrian
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83:Bregenz
447:(PDF)
174:, in
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