Geteilte Zuversicht

Hieslmair and Zinganel addressed the communities and communal property in Reinsberg, in concrete terms the local football club, Hobby Club Reinsberg, whose small but very popular grounds with a football pitch, as well as many moveable items of property in the possession of the various Reinsberg clubs. The work consisted of two offerings: the "artistically exaggerated" Wanderpokal (Trophy) is, at 1.6 metres tall, far too big to be placed on a shelf or in somebody's sitting room. It was standing on the flat roof of the Reinsberg Hobby Club clubhouse until the tournament in early 2012— then it began touring from one winning team to the next. The mobile segment of stands was parked on the sports field, and could be taken along to away games or even lent out to other football clubs. 

Anna Fabricius from Budapest has been working for years with different groups, associations, clubs and societies, and communities. With simply composed photographic images she attempts to detach these groups of people from normal perception. In the last series her work developed increasingly from a semi-documentary view into a playful treatment of staging the shots. For Geteilte Zuversicht she produced a series of photographs of working communities in Reinsberg where the groups showed themselves in their workplace, and exhibited these in various existing displays at several locations in the village. 

Iris Andraschek and Hubert Lobnig developed a schnapps bar for village ethics under the Kantian motto "What should I do?" — as part of a Dorffest (village fête), a walk-in cube was erected in the centre of the village. The outer walls served as a surface to display the results of a questionnaire about the rules of social life — providing a starting point for discussions about the 'operating instructions' behind village life. What pre-existing rules do the residents of a community follow? What rules do they create themselves at a time when church and state influence are continually dwindling? The interior conceals the constructivist schnapps bar where clear spirits (reiner Geist — pure spirit/spirits) from Reinsberg were served during the fest. At the end of the Reinsberger Nächte (Reinsberg nights), the cube detached itself from the Dorffest architecture.

Invited to produce an art project in public space, the artist Matthias Klos encountered the difficulty of working site-specifically as an outsider. For the community of Reinsberg Matthias Klos created a short story about the impact and interactions of everyday life, stories and backdrops, whose visible frontage and rears as he guessed they were he captured in photographs. He compiled the text and the images in a small booklet, which was distributed to every household in the community. A poetic gift from the artist, confident of generating consistency and condensation through the transitory and through reproduction. The contents of the booklet went on display 

"I wanna die in Reinsberg", sang Oliver Hangl in his artistic contribution for the Cultural Village of Reinsberg. While kozek hörlonski used this wish as the starting point for their research, and developed an installation that engaged with death and demise, but also with things that cannot be seen. One sculpture alluded to a grave, a cultic site or a charcoal pile. Grave mounds and cultic sites are the oldest evidence of human culture and civilisation there are; their messages can, however, be absolutely topical. The installation stood independently in public space and was used for a performance. The work shed light on taboos and the suppression underlying certain social aspects of communal village life.

Antje Schiffers and Thomas Sprenger have been offering to make an exchange with farmers: a painting of their holdings for a film where they, the farmers, show their everyday lives on their farms. They have been to Lower Austria and Styria, Holland and Wales, England and Romania, Switzerland, Germany and Macedonia. Antje Schiffers takes about a week to complete a painting, which is the time available for the farmers concerned to present themselves and for Thomas Sprenger to collaborate with them on editing the footage. In the meantime they have an archive of over 20 films on European farmers. 18 of these films were on show in Reinsberg.

For Geteilte Zuversicht in Reinsberg, Tinzl and Flunger proposed an intervention on the church tower. They suggested installing a ladder on the north face of the tower, where there was no clock, driven by a mechanism to become a single clock hand (alluding to the secular function of the clock on the church tower). Every quarter of an hour the ladder moved three steps upwards, and slid back to its point of departure on the hour. The work Ein Schritt vorwärts, zwei Schritte zurück (One step forwards, two steps back) engages with the global interplay of religion, politics and power, which is also tied to the history of Reinsberg village. Due to the impossibility of placing an intervention on the church, the artists detached the kinetic object from the church tower symbolically, and placed it at the same height on a hill, where it was visible from a distance.