Burger

Nina Rike Springer

*1976 in Klagenfurt, AT
Lives and works in Vienna.

 

 

Nina Rike Springer, Alles bestens!, 2019, Ed. 3 + 1AP, C-Print, 50 x 50 cm.
Nina Rike Springer, Alles bestens!, 2019, Ed. 3 + 1AP, C-Print, 50 x 50 cm.
Nina Rike Springer, Bahnbrechender Fluganzug, 2018, Ed. 3 + 1AP (2_3), 80 x 80 cm.
Nina Rike Springer, Bahnbrechender Fluganzug, 2018, Ed. 3 + 1AP (2_3), 80 x 80 cm.
Nina Rike Springer, Generalprobe, 2019, Ed. 3 + 1AP, C-Print, 50 x 50 cm.
Nina Rike Springer, Generalprobe, 2019, Ed. 3 + 1AP, C-Print, 50 x 50 cm.
Nina Rike Springer, Eleganter Fluganzug, 2018, Fine Art Print, 80 x 80 cm.
Nina Rike Springer, Eleganter Fluganzug, 2018, Fine Art Print, 80 x 80 cm.
Nina Rike Springer, Manöver, 2019, Ed. 3 + 1AP, C-Print, 110 x 100 cm.
Nina Rike Springer, Manöver, 2019, Ed. 3 + 1AP, C-Print, 110 x 100 cm.
Nina Rike Springer, Fluganzug TO GO, 2018, Ed. 3 + 1AP (2_3), Fine Art Print, 80 x 80 cm.
Nina Rike Springer, Fluganzug TO GO, 2018, Ed. 3 + 1AP (2_3), Fine Art Print, 80 x 80 cm.
Nina Rike Springer, Schwebeperformance, 2018, Ed. 3 + 1AP (2_3), Fine Art Print, alle 150 x 519 cm, je 150 x 173 cm.
Nina Rike Springer, Schwebeperformance, 2018, Ed. 3 + 1AP (2_3), Fine Art Print, alle 150 x 519 cm, je 150 x 173 cm.

The artist and scholarship holder of the ZF Kunststiftung Friedrichshafen 2018, who studied at the University of Applied Arts Vienna and the Bauhaus University Weimar, relates body and action to her imagery in her photographs.

As a neutralized being, she confronts the abstract conditions of geometrical landscapes of forms, which are reminiscent of the aesthetics of Bauhaus or Futurism – a world in bright colors. The humor of these encounters lies in their absurdity: in logically meaningless actions fully convinced of the necessity, which act between adaptation to the circumstances and the expansion of their possible scope for action.

Nina Rike Springer’s video and photo works are created at the interface between performance, photography, and moving images. She works with a system of signs made up of figures and poses that are derived from everyday activities. She often uses her own body as the starting point for this abstract system in relation to objects that she tries, uses, and animates. In a humorous way, Nina Rike Springer addresses the conflict between the most varied of human sensitivities and the technical constraints of our society, which has been organized down to the last detail.

(Ralf Christofori)