Predavanje br. 3Ronald Kodritsch
Predavanje održano dana 11.9.2002. godine u 20 sati; Korištena tehnička ili druga pomagala ili sredstva: dijaprojektor, video Predavanje trajalo 90 min., nakon toga diskusija sa publikom
Autor se predstavio slikama u ulju, intervencijama u prostoru te video radom pod nazivom "Film o sprečavanju krađa umjetničkih djela" , 1998. ORF, Kunststücke. Umjesto teksta sa svog predavanja tražio je (bez naknade) objavljivanje teksta autorice Manishe Jothady koja je o njegovim radovima napisala slijedeće:
I have always loved it, to amuse myself seriously (Francis Picabia) Seeing art as an open investigation and to deny any kind of collective characterization in order to spread the own visual repertoire and to transform it, is a sign of the work of Ronald Kodritsch.
His work is an open ensemble of processes. It does not only reflect the diverging variety of visualisation, but is also discriptive analogy of an discontinously experienced present. Kodritschs paintings are dedicated to that kind of reality, that is necessary to reanimate conventional forms of realism. He moves in an open field of individual associations and collective understanding conventions, by creating a figurative-fantastic figure, which has its roots in comics or in trash. From developed, standardized pictorial repertoire items are selected and in the sense of an open picture grammar linked. The permanent cacophonie "Frühstücken Ficken Frühstücken Ficken…" was first appearing in a drawing of the year 1998, to come back two years later on a lovingly-kitschy flowerpainting. This ironical shift of meaning gives the viewer a sophisticated projection. His frivolous attacks sometimes remind of the impertinences of the Dadaists, all in front Francis Picabia. And like him, Kodritsch is not afraid of actions that makes you think of a childish prank or evoke the image of a crafty dandy. Because who thinks, that behind the quotation "Gestern habe ich deine Mutter angepisst - ihr geht es gut", there is another position than pure provocation, is wrong. His special form of provocation is consciously moving on the border to plattitude to anticipate any kind of hyperintellectualising interpretations and his power is obviously exaggeration and deformation. -Like in the the painting "Tittenbild", that plays in an absurd way with genmanipulation and cosmetic surgery. Across that we can find in his work an extremely playful handling with the ordinary, like in "Selbstportrait als Besteck" or "Wer könnte sich hinter dieser Mauer verstecken". The mainsprings of Ronald Kodritschs artistic work seem to be anyhow always humour and irony. The spontaneity, which is inherent in his work, his desire to push the viewer before the heading or to ask him questions, give his work this light-footed brightness, which in the long run enables the artist to manifest his own artistic interest beyond historical, regional or academic characteristics.