EIAG


STORY

EIAG is all over the map. Tracing his performances and environmental constructions, one follows him from Holland to Germany to Austria to France to Ibiza to the Canary Islands. Whether organizing masses of people or spending five days alone in a swing/sculpture, Eiag doesn't stay in one place-or one medium-for long.The inveterate painter / filmmaker / performance artist now has three homes: Germany, Austria and New York. His art activity began in 1965 with studies at the Vienna Art Institute but he soon found himself working as a designer for the Vienna Opera. He became a specialist in Mozart and achieved note in his field. After one-person shows at numerous European museums, he was commissioned by the 1972 Olympic Committee to design an event for Munich. He took the opportunity to involve hundreds of people in constructing an artwork made of 11 kilometers of yellow plastic, and consequently bacame engrossed with public outdoor events. "lt's nice to repeat ideas that have been thought of 100 years ago. But we have different ideas today," he says. "I love Mozart opera, but in designing for it, I feel we go back into a different time. I wanted to do something new. Something that's today. The Olympics was a start."After a good deal more travel, Eiag settled upon a Solo performance mode that continued through the'70s: performances lasting several days in which he suspended himself in a cloth swing hanging from a triangular frame, never coming down and consuming only water. This action was performed at the Basel Art Fair (five days, 1975), and on the German island of Sylt (three days, 1976) and elsewhere as part of larger performances. The island piece peaked his interest in wind power. "When I came down, I came down completely new. I was on a different planet. It was like flying. It's for changing something, for finding your own center, and that's not very easy." Caught up in what he calls the European passion for public performances, he planned a huge swing to be suspended beneath the Eiffel Tower holding 50 people, which never came to pass.Soon Eiag moved on to Spain (" Without Franco, Spain booms! ") where he became involved in theater and dance, but mounting events that were "more like painting and sculpture," lively, filled with color and utilizing many media. " I couldn't do the same performances in Spain I could do in France, " he explains. "There is no paciencia, no patience. They don't like to wait !" In Barcelona, Eiag started "a school for action and color" for which he invented enormous room -size bags of colored plastic for his students as experiential environments. " I wouldn't let them paint. That's something they can do at home. I designed Rooms for them to go into. They get the experience of red, blue, green, yellow. They enter and soon they are forming little groups of people who respond more to, say, red. Sometimes I would put a dynamic person into a blue bag, just so they could get something different. If I put dynamic people into a red bag they would tear the whole thing apart !" The inflatables became a recurrent device for trapping air and light. They could be filled with gas and let loose upon the water like huge bubbles of color. For a disco on the island of Ibiza, Eiag created a quarter-million-dollar environment inside a disco with the inflatables filled with people on the indoor swimming pool. " Ibiza is a place that's going fast. Lots of artists live there, it's known for fashion. People don't go to the theater the theater is the discoteque. The actors are the people who go there. The costumes they buy in the boutique. They need ideas for fiestas." Eiag was told he could do anything he wanted in Ibiza, but instead he moved on to the Canary Islands, where, as luck would have it, it was Christmas, but the people were already getting ready for carnival! Last summer Eiag visited Los Angeles, hoping to stage another Olympic event, but found the public disinterested. "Here everybody is a spectator. They wanted to stand on the pier and take pictures instead." He has proposed a giant windgenerator to be mounted between the Century City Towers in Beverly Hills, spinning balls and a huge, retractable sailing swing. He likes the towers because they look like his favorite number, 11, an ingredient in many of his artworks (you can write his name in eleven strokes and his name appears on everything he makes, even the eleven kilometers of yellow plastic). "Eleven," he says, "looks like one and one-and between one and one, oh, so many wonderful things can happen!"   Text:   Linda Frye Burnham     High Performance   #30:43

Combining Visual Poetry with new hybrid practices Tim Eiag challenges the term of Sculpture transforming the static Oject into a dynamic and performative concept of 3D Culture. Focussing on the relationship between individual and society EIAG´s liaise strategies are conceived to examine the social and political role of the self as an economically instrumentalized unit.




VITA     VIENNA     RELIEF     BARCELONA     STONE         CONTACT

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