Six questions for
Veronika Eberhart

Tique asks six questions to an artist about their work and inspiration.
This week: Veronika Eberhart.

Artist Veronika Eberhart
Lives in Austria

How do you describe your own art practice?

My practice often starts with a researched based approach but aims for intuitive and formal translations. The mediums I employ span from moving images, sculptures, photographs to performance and sound pieces.

Which question or theme is central in your work?

I am constantly searching for buried layers, while reflecting on relationships between historical narratives, architecture and humans. Stirring up different timelines I look for the interplay between the unconscious and the conscious, sides of labour and marker of class.

What was your first experience with art?

A mistuned piano that stood abandoned, as a decoration, in a corner of a room. I was around ten years old and would take great pleasure in repetitively pressing a single piano key at a slow tempo while listening to the modulating sound echo throughout the room.

What is your greatest source of inspiration?

Social encounters, music, nature and misunderstandings. It could be a broken sentence or an awkward pause. How do we relate to each other? Listening to the different ways we try to interact keeps me attentive and curious.

What do you need in order to create your work?

A quiet mind and courage. Through the method of Feldenkrais and going swimming, I try my best to enter into a different state. Perhaps it is the loss, or awareness of gravity involved in both activities. Or maybe it’s the change of pace. Lying on the floor or gliding through the water give me the possibilities to act.

What work or artist has most recently surprised you?

Although already released in 1976 I only recently saw Barbara Kopple’s Film „Harlan County“. It covers the strikes of coal miners at the Brookside Mine, southeast Kentucky in the early 1970s. An impressive documentation of union movements in the USA, and the important role of women in the mining community. I was impressed how Barbara Kopple lived and fought with the workers for months. A stunning example of power of the camera that made me think of the message that Woody Guthrie once placed on his guitar: “This machine kills fascists“

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