Nin Brudermann

Nin Brudermann is an Austrian artist, born in Vienna, living in New York since her studio Artist Residency at MOMA PS1. Her works are narrative investigations in a variety of media, including film and sculpture as well as performative installations. Brudermann often adopts comedic elements and methods of play for politically charged subject matter.

Brudermann's work has been presented internationally at MOMA PS1, Brooklyn Museum, Venice Biennale, Kunsthal Aarhus, Kunsthalle Wien and Kunsthalle Krems, Haus der Kunst, Kunstraum Dornbirn, National Centre for Contemporary Art.

Education Brudermann received her BFA at Schule Friedl Kubelka in Vienna and her MA at University of Vienna and Academy of Fine Arts Vienna (Peter Sloterdijk).

Works ‘Waiting for War’ (1998)

Waiting for War displays undisclosed satellite uplinks by Reuters, APTN, CNN, and Al-Jazeera during 'Operation Desert Fox’, in a four channel synchronized video installation.Representations of War, Migration, and Refugeehood, Routledge Interdisciplinary Perspectives on Literature (Book 33), 2014, pg 72, ‘Attack! Kunst und Krieg in den Zeiten der Medien’, (illustrated), Kunsthalle Wien 2003, Steidl Verlag, Goettingen 2003, ‘Bild gegen Bild (Image counter Image)’, (illustrated), Exhibition Catalogue Haus der Kunst, Verlag der Buchhandlung Walther König 2012, ‘The Photofilmic: Entangled Images in Contemporary Art and Visual Culture’, Lieven Gevaert Series 2016, , pg. 163, Linda Schaedler

’N.A.S.D. Projekt Fledermaus’ (2004)

N.A.S.D. Projekt Fledermaus takes place on the Caribbean island of Vieques, a former United States Navy bombing range and testing ground, where in 2004 a large area was still off-limits to the public. Brudermann joined a scientific team to test the toxicity levels of dust, swab sampled from bats inhabiting the empty bunkers. The two channel video, part documentary, part performance piece, has been compared to a portrait of ‘The Zone’ - the toxic landscape of Andrey Tarkovsky's Stalker. Brooklyn Rail, 2005-3, ‘Nin Brudermann. N.A.S.D. Projekt Fledermaus’, (illustrated), Thomas MicchelliKunstforum International, Nr. 174, 2005-01, p. 341-342, ‘Nin Brudermann. NASD Projekt Fledermaus. Bernsteiner Dependance, 26.11.2004 - 25.1.2005’, (illustrated), Dieter BuchhartArtinfo, 2006, ‘Naturen i nutidskunsten Kunsthal Aarhus', Lars Svanholm‘Zerstörte Welten und die Utopie der Rekonstruktion’, (illustrated), Verlag für moderne Kunst Nürnberg 2006

The Swan (2005)

The Swan is an urban tale in which a swan attempts to make its home in the East River of New York City. As a live performance, the short film is narrated by Brudermann in storybook style, accompanied by Dorit Chrysler on the theremin.Tema Celeste Contemporary Art, Nr. 116 2006-7, ‘Nin Brudermann - Animal stories’, (illustrated), Francesca PagliucaExibart on paper, Nr. 31, 2006-3, ‘Nin Brudermann - Animal stories, Milano, Galleria Pianissimo’, (illustrated), Barbara Meneghel

Panspermia (2005)

In the interactive mixed media-installation Panspermia, Brudermann touches on the politicized battle between darwinism and intelligent design by reciting panspermian commandments from a book on directed panspermia.Eikon Internationale Zeitschrift für Photographie und Medienkunst, Nr. 52, 2005-12, p.8-15 ‘Nin Brudermann. Adventurous Entanglements’, Simone Subal The work was acquired by the Austrian National Collection, Arthotek at Belvedere.

Das Patent (2008)

In Das Patent Brudermann's practice is that of the conceptual artist as inventor with a patented unitard that separates into two sections without the use of hooks or buttons and that art critic Jerry Saltz compared to a M.C. Escher impossible object.New York Magazine, 2008-07-10, ‘Critics’ Pick: Some Thing Else’, (illustrated), Jerry Saltz The figurations of Das Patent were live performed at Peter Blum Gallery in New York.

Aurelio Z: The Game (2008)

Court documents on the Superdollar are at the center of Aurelio Z: The Game, a live performed Q&A show with the audience competing against the players on stage. ‘Switching Worlds - Desires and Identities’, (illustrated), Austrian Cultural Forum NY, 2006, , Christoph Thun-Hohenstein‘Nin Brudermann. Rainer Ganahl. Mathias Kessler. GO NYC’, 2008, (illustrated), Dieter Buchhart, Kunsthalle Krems, Verlag fuer Moderne Kunst, Rhizome, 2008-02-20, ‘In The Private Eye’ at ISE Cultural Foundation’, (illustrated), Caitlin Jones

Late Night Show (2010)

Brudermann turned the story of a woman who had been stalking a man for six years into a Late Night Show with Danish TV host Martin Krasnik.Kunsten, 2010-4-22 ‘Kaerlighed uden naerhed’, (illustrated), Matthias Hvass BorelloNY Dansk Kunst, 2011, Kopenhagen Art Institute, 'Late Night Show’ (illustrated)

Tarock N.B. (2013)

A person's personal history was also Brudermann's focus in Tarock N.B.. The life of a CIA agent can be discovered through a patience/tarock card game created by the artist. For Performa 13 she played Tarock N.B. with Dieter Meier at White Box NY.

Twelve O'Clock in London (2012)

Besides the immersion in other roles and lives the artist finds herself in foreign places. For Twelve O’Clock in London Brudermann travelled for years to the remotest sites to document and intervene in a daily global event of the United Nations.Touristen, Nr. 02, 2006-1, pg. 52-61 ‘Der Planet sieht nicht nach Erde aus’ (illustrated), Nin BrudermannBulletin, Volume 52, pg. 4343, World Meteorological Organization, 2003 Le Journal Reunion, 2002-9-1, ‘Nin Brudermann une artiste dans la solitude des stations meteo’(illustrated) At UTC noon and midnight all member states launch weather balloons synchronously in a political ritual for the sake of the weather forecast.

For the Makrolab contribution to the Venice Biennale 2003 Brudermann collaborated with the Italian Air Force who cleared the airspace over Venice to launch a balloon equipped with a radio transmitting video camera into near space.‘Makrolab’, MakeWorld Paper #3, pg.4, September 2003 With Twelve O’Clock in London Brudermann has collected and collaged 150 videos of rising meteorological balloons launched from all nations across the globe. In 2009 the artist was invited to the World Climate Conference in Geneva by the World Meteorological Organization of the United Nations to present her film at a special screening for Heads of States and Governments at Victoria Hall Geneva. In a performative act she introduced the Secretary-General of the United Nations Ban Ki-moon to her project. Brudermann managed to ask the Secretary-General whether he could say which border-crossing action is performed twice every day and represents a nation-collaborative act by the United Nations. Ban Ki-moon had to leave this question unanswered, but after this short intervention ordered a ballon signed by the artist. ‘Nin Brudermann: Twelve O’Clock in London: Austria/Autriche’, exhibition catalog Kunstraum Dornbirn, Verlag fuer Moderne Kunst , Anna Karina Hofbauer Twelve O’Clock in London was later part of UNESCO 70 at the 2015 United Nations Climate Change Conference in Paris,UNESCO, 2015-9-21, ‘Twelve O’Clock in London’ (illustrated) featured at Rolling Stone Magazine.Rolling Stone Magazine, 2015-9-21, ‘#twelveoclockinlondon’ (illustrated) The project culminated in a 150-channel video installation at Kunsthalle Krems Der Standard, Kultur, 2010-11-26, ‘Luftballons auf einem riesigen Jahrmarkt’ (illustrated), Andrea HeinzORF, 2010-11-20, ‘Man muss ueber das Wetter reden’, (illustrated), Simon Hadler 'Klimabilder', (illustrated) Matthes und Seitz Berlin 2018, , Birgit Schneider and a performative contest of nations at REGIONALE XIIKleine Zeitung, Kunst. Festival. Zeitung, REGIONALE XII, Jun 26, 2012 and Kunstraum Dornbirn ,artmagazine, 2012-8-8, Nin Brudermann - Twelve O`Clock in London: Austria/Autriche: Himmelwärts (illustrated), Wolfgang OelzKulturzeitschrift, 2012-7-26, ‘Der Wetterballon als Mittler zwischen Kunst, Natur, Wissenschaft und Gesellschaft’ (illustrated), Karlheinz Pichlerkunst:art, Nr.26, 2012-7, ‘Der Blick auf die Welt aus luftigen Hoehen, Nin Brudermann im Kunstraum Dornbirn’, (illustrated) Daphne Maria Gerzabekvol, 2012-08-15, ‘Vom Phaenomen der Wetterballone’ (illustrated), Edith RhombergSims Kultur, 2012-6-12, ’Nin Brudermann’ (illustrated)ko, 2012-8-15, ‘Twelve O’Clock in London: Austria/Autriche’ (illustrated) with an exhibition catalog published by Verlag für moderne Kunst.

For Twelve O’Clock in London Nin Brudermann received the InFocus Labs for the Arts Grant, the Individual Artist Film & Media GrantIndividual Artist Film & Media Grant, New York State Council on the Arts, fiscal sponsorship of the New York Foundation for the Arts, 2008 by the New York State Council on the Arts, with fiscal sponsorship of the New York Foundation for the Arts, the Arts & Humanities Grant by The Greenwall Foundation New York,Arts & Humanities Grant, The Greenwall Foundation, New York, 2006 as well as a Fellowship for the Arts by the Australian Antarctic Division.Fellowship for the Arts, Australian Antarctic Division, 2003 The work was awarded as part of the Outstanding Artist Awards Interdisciplinary 2016 by the Austrian Federal Chancellery.Outstanding Artist Awards Interdisciplinary, Austrian Federal Chancellery for Arts and Culture, 2016

Clash of Giants, 2014-2018

In her most recent work Clash of Giants Brudermann traces a cold case of high level espionage by means of unpublished correspondence around a dispute between her great-granduncle Rudolf von Brudermann and the head of the Austrian Chief of General Staff Franz Conrad von Hötzendorf.The Art Newspaper, No.224, 2011-5, ‘I spy with my little eye’ Anthony Haden-Guest for the New York DiaryArtFuse, 2014-06-11, ‘War Stories at William Holman Gallery’, (illustrated), Daniel Gauss The production and research phase of Clash of Giants was presented at Museumsqartier Vienna in 2015, National Centre for Contemporary Arts Kaliningrad in 2017, Artist House Tel Aviv and Motorenhalle Dresden 2018.

References

Nin Brudermann

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