intervention invading net work – net no. 40 (ongoing series) 2014[vc_empty_space height=”20px”]
It’s a series of network installations made of tights and originally based on a recycling idea (old tights with ladders), reflecting the development of the globalization and world wide web, which is connecting the entire globe. Tights are very representative for the fast consume of cloths, because they mostly only stay well for a night before they are going to break (in the 1960s/70s tights were still brought to a shop for repairing the ladders!). The textile network of tights finally is comparable to a vulnerable organism that could collapse. It is alienating the surrounding and looks like an extra-terrestrial sculpture complex. Since 2006 ‘intervention invading network’ had been shown in several European and overseas exhibitions.[vc_empty_space height=”50px”] [vc_empty_space height=”20px”]
pandemic nightmare 2012[vc_empty_space height=”20px”]
Destructive elements always had been a fascination for mankind. If you regard for example atomic explosions, demolition of buildings, blasts, thunderstorms, volcanic eruptions, geysers, avalanches, icy rains, hale, tsunamis or tornados, the images created by this powerful violence always have their own aesthetic and beauty.
But there are also some very small silent microcosmic and thus invisible elements, which are looking quite beautiful under a microscope, but are able to kill millions of human beings – the viruses.
Due to the globalization and the increasing aerial traffic, epidemies can be spread out all over the world and become a pandemic quite quickly. The last waves of epidemies showed us that we almost can’t preview the development of the further movements and mutations of the viruses.
What I’d like to show is the beauty and variety of these tiny killers, shown by an installation of a simple metal bed with different designed viruses.
malaria mosquito migration 2014[vc_empty_space height=”20px”]
The mosquito has been on the move, especially in recent years, because its search for a new home is by no means limited to the human species. Due to the constantly growing ‘migration of peoples’ in global air traffic and the global warming caused by this, among other things, changes are slowly but surely taking place in the settlement of new flora and fauna in our regions, either through gradual advance or involuntary travel by plane. A current example, and one that is currently under discussion everywhere, is the tiger mosquito, because not only malaria is a problem, but also dengue fever, which has a rather deadly potential and with which the Atlantic island of Madeira, which belongs to Portugal, has been struggling for some time.
A scenario which is not at all far-fetched in this respect, and which is equally worrying, would be the arrival of the malaria-transmitting Anopheles mosquito in Central-European regions, especially those with a high water content.
Note: The text above was written by the Artist. No modification was made by COCA.[vc_empty_space height=”50px”][/vc_column][vc_column fade_animation_offset=”45px” width=”1/3″]
Irene Anton, * 27.04.1966 in Darmstadt – Germany
Member of BBK Berlin, BVBK Brandenburg, AININ and sculpture network
2002 – 2005 University of fine arts Berlin-Germany (UdK), master-degree of art in context, specialisation in
exhibition organisation and community arts – art in public spaces
1989 -1994 University of the arts Berlin (UdK), degree in fashion and textile design
1988 -1989 University of Wuppertal (U-GH) – Germany, basic year of industrial design
1986 – 1988 Academy of the arts (AKI) Enschede – Netherlands
2008 – 2011 3 years of teaching at Kurt-Schwitters-Highschool in Berlin – Germany
Since 2005 workshops of land art and textile art for adults and children at schools
Since 1994 working as a designer and artist
Solo exhibitions (selection)
2020 “levadadictiva”, Barreirinha, Funchal / Madeira – Portugal
2017 “al I sobre I todo”, Sala de Arte Agüimes, Gran Canaria – Spain
2016 “intervention invading network”, Kunsthal v