TinTin, 2017

>Images

June 1 — July 1, 2017
TinTin Patrone
Reign of Error

Reign of Error, the environment Tintin Patrone has set up at Galerie Conradi, consists of three different arrangements that function as fragmentary stage settings of sorts. In the course of the performance, the artist will activate one after the other:

It begins with the physically demanding attempt to elicit a few piteous notes from a bagpipe she has fashioned out of an ALDI plastic bag. The improvised instrument is connected to a recording device and amplifier, which take live samples of the sound that are replayed as the artist moves on the next station.

Balancing on a tall ladder, she then flings various tennis balls, energy drinks, and beer cans from an IKEA bag, striking drums set on the floor with now surer, now less sure aim. Again, the resulting noise is recorded, sampled, and mixed with the notes from the first part of the performance. This second action pays homage to the Fluxus artist George Brecht, whose performance Drip Music—the dramaturgy involved a curtain and stage—similarly employed a ladder and a receptacle placed beneath it to produce sounds.

The third and final station quotes the fairytale The Wizard of Oz—the rudimentary television studio set with the yellow foam-rubber fake bricks distinctly recalls the yellow brick road leading to the Emerald City. Standing on it, the artist now takes on the challenge of a teleprompter made dysfunctional by severe deceleration. Slipping into the role of stand-up comedienne, she reads off stale gags, but the low speed setting of the scrolling text and the grotesque electronic distortion of her voice resounding from the speakers make it impossible to make any sense of the scene. The abstract verbal fragments she speaks into the microphone and the sounds and noises from the previous stations condense into a collage-like composition. The performance yields an improvised and complex electronic soundscape, an ephemeral construct that, over the course of the performance, feels increasingly unconnected to the artist’s actions. The audience—utterly absorbed in her various roles and situations, the artist never makes direct contact with the spectators—is accosted by two illuminated advertisements, so-called Audience Pieces, that display stage directions such as emoticons signaling laughter and clapping hands.

Tintin Patrone works with pop-cultural references as well as material she appropriates from the art field. Her work features numerous elements that derive from Fluxus and Dada. In her system, self-reference clashes with comedy in happenings that negotiate the artist’s role: as a comedienne without a punch line, a failing musician, a Fluxus artist who gets her props at the discount store. An ongoing shift of perspectives charts possible purposes and uses of the gallery space: resonance chamber, studio, stage, scenery.

In addition to her exhibitions and performances as a solo artist, Tintin Patrone collaborates with various international artists’ initiatives and performance art networks. She is a founder and member of the Musicmotorcycle Club and the Krachkisten-Orchester, with which she has toured Europe for many years.

Tintin Patrone was born in Marburg in 1983. She studied with Korpus & Löffler, Haegue Yang, and Matti Braun at the University of Fine Arts of Hamburg (HFBK) and currently lives in Hamburg.