About
(c) Fabian Bazant-Hegemark, 2011
Lives and works in Vienna, Austria. Manages Der Hafen.
Researching for his Ph.D. proposal with Elisabeth von Samsonow.
Studied Fine Arts at the Academy of Fine Arts, Vienna (Gunter Damisch, Daniel Richter, Harun Farocki).
Awards/Scholarships/Residencies:
- Residency Grieskirchen: Galerie Schloß Parz, Austria, 2012
- Residency Rio de Janeiro: Instituto Plano Cultural, Brazil, 2011-2012
- Residency Mallorca: CCA Andratx, Spain, 2011
- Pfann-Ohmann Preis, 2011
- Kunstpreis Parz, 2011
- Laureate of the Fohn Scholarship, 2010
- Roter Teppich für Junge Kunst, 2010
Further reading:
- Diploma with Honors (german), June 2011
- Interview by British Airways Highlife Magazine (complete article), May 2011
- Equilibrium mentioned in a New York Times homestory about Florian Staudinger’s Hammerhaus (complete slide show), May 2011
- Review about curatorial work for Before the movies, paintings were like the movies (german), May 2011
- Interview by Krokus Galeria, 2011
- Studio visit by Salve Europa (german), 2010
Recommendations:
- Alan Cicmak
- Theresa Eipeldauer
- Paul DeFlorian
- Carsten Fock
- Julie Müller
- David Peschka
- Sarah Pichlkostner
- Max Schaffer
- Helga Schmidhuber
- Marianne Vlaschits
- Nazim Unal Yilmaz
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You fight your superficiality, your shallowness, so as to try to
come at people without unreal expectations, without an overload
of bias or hope or arrogance, as untanklike as you can be, sans
cannon and machine guns and steel plating half a foot thick; you
come at them unmenacingly on your own ten toes instead of
tearing up the turf with your caterpillar treads, take them on with
an open mind, as equals, man to man, as we used to say, and yet
you never fail to get them wrong. You migh as well have the brain
of a tank. You get them wrong before you meet them, while you’re
anticipating meeting them; you get them wrong while you’re with
them; and then you go home to tell somebody else about the
meeting and you get them all wrong again. Since the same generally
goes for them with you, the whole thing is really a dazzling illusion
empty of all perception, an astonishing farce of misperception.
And yet what are we to do about this terribly significant business
of other people, which gets bled of the significance we think
it has and takes on instead a significance that is ludicrous, so ill-
equipped are we all to envision one another’s interior workings
and invisible aims? Is everyone to go off and lock the door and
sit secluded like the lonely writers do, in a soundproof cell, summoning
people out of words and then proposing that these word
people are closer to the real thing than the real people that we
mangle with our ignorance every day? The fact remains that getting
people right is not what living is all about anyway. It’s getting
them wrong that is living, getting them wrong and wrong and
wrong and then, on careful reconsideration, getting them wrong
again. That’s how we know we’re alive: we’re wrong. Maybe the
best thing would be to forget about being right or wrong about people
and just go along for the ride. But if you can do that – well, lucky you.
– Philip Roth, American Pastoral