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<object xmlns:xs="//www.w3.org/2001/XMLSchema"><NoAIdisclaimer>[PLATZHALTERTEXT]Vervielfältigungen eines Werkes dieser Webseite für Text- und Data-Mining und damit insbesondere für das Training einer Künstlichen Intelligenz bleibt ausdrücklich vorbehalten (§ 42h Abs 6 UrhG).</NoAIdisclaimer><field label="PrimaryMedia" name="primaryMedia"><value>/internal/media/dispatcher/85700/full</value></field><field label="Title" name="title"><value>Ohne Titel</value></field><field label="Date" name="displayDate"><value>2003</value></field><field label="Dimensions" name="dimensions"><value>76 × 197 × 26 cm, 26 kg</value></field><field label="Medium" name="medium"><value>Mixed Media und Plastilin auf Fotocollage</value></field><field label="Inventory number" name="invno"><value>11334</value></field><field label="On View" name="onview"><value>0</value></field><field label="Description" name="description"><value>
Overcoming inhibitions, taking delight in the cringeworthy and disgusting, framing the body as a sculpture: these are only some aspects of gelatin’s creative practice. The works of the Vienna-based artists’ collective—Wolfgang Gantner, Ali Janka, Florian Reiter, and Tobias Urban—have made a splash in Austria and abroad. For the 2002 Liverpool Biennial, gelatin built a small performance bunker out of waste products—in the tightest of spaces, “Armpit” featured a stage, a bar, a dancing pole, and urinals. The guests were to weave through the crowd like particles passing through tightly packed matter, the music, dancing, and drinks charging them with energy. The photocollage with plasticine elements memorializes the experiment.</value></field><field label="Genre" name="classification"><value>Object art</value></field><field label="Id" name="id"><value>10202605</value></field><field label="Source ID" name="sourceId"><value>62704</value></field><field name="iiifManifest"><value>https://sammlungtest.belvedere.at/apis/iiif/presentation/v2/1-objects-62704/manifest</value></field></object>