Lisa Anita Wegner

Tag Archives: think blank human

January 25, 2020 A True Amateur (Lover Of)

“Over the years that the way I pursue my work as been called amateur. Found objects and donated equipment have become my jam and I realize an unending burning desire to tell stories through any means possible. I take it a compliment as I will always been an amateur artist in the true sense of the word. I do my work for the sheer love and hunger of it, and I will never stop. Through volume I am becoming practised with a body of film, installation and performance work. I feel lucky that money will never be a motivator of my creative output.” -The Ubermarionette 2020

Photo by Angela Chao 2016

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Tags: amateur, artist, artist quotes, Canadian Art, lover of, performance artist, think blank human, ubermarionette, zentai

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• Posted under art therapy, Canadian Art, film and art, Love Letters, performance art, Uncategorized

• Blog Posts

  • July 20, 2021 Stretching Through Dimensions Like Lions Tied by Spheres
  • July 4, 2021 there you are
  • July 4, 2021 my open windows
  • February 17, 2020 Repetition, Provocation and the Investigation of Expectations.
  • January 25, 2020 A True Amateur (Lover Of)

• Lisa Anita Wegner's Photos

  #photoshop #extreme used to be my jam #myeyes #slrcamera

  That time some of the #tedlasso cast got stuck to my face

  #cartoonfilter #myface

  #santa #satan #santana #spelling

  Your #doctor is an #ubermarionette #iamlistening

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  #doppelganger #yawn

  #realisticconfabulation #lisaanitawegner #intangibleadorations #hausofdada

  #light from #above #blackandwhite

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• mental inertia, clichés and bad jokes

  Lisa Anita Wegner (°1973, Toronto, Canada) creates performances, installations, films and conceptual artworks. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, Wegner makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.

  Her performances often refers to pop and mass culture. Using written and drawn symbols, a world where light-heartedness rules and where rules are undermined is created. By rejecting an objective truth and global cultural narratives, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.

  Her work urges us to renegotiate performance as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By using popular themes such as sexuality, family structure and violence, she creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.

  Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By demonstrating the omnipresent lingering of a ‘corporate world’, she touches various overlapping themes and strategies. Several reoccurring subject matter can be recognized, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.

  Her works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image.

  -500 Letters