It’s almost winter in Krasnoyarsk, a million-plus industrial city in Siberia, in the heart of Russia. Young men gather there to prove their skills. Either they do it with their own bodies in a "fight club" style, outside the nightclubs. Or they tell each other "aida driftanem" (let's drift) and they fill the streets with their battered cars to show off their skills in street ballet.


 "Aida Driftanem", 2017 (HD-Video, with sound, 1min 03)




Sabine Jelinek leads our interest on objects or things of the everyday life and directs the viewers perception onto situations they would notice just unconsciously. We do not really see this things or situations, but still sense them. Now she grabs her camera and captures just some precise moments out of this flow of impressions. Life appearing almost as still-life in her images needs her sharpened attentiveness, to hold ground against time. But still Jelinek doesn’t eternalize, in the contrary she rather captures transience than standstill of time. The moments she shows in her photographs or videos are unique and irretrievable and least of all endlessly reproduced and adjusted image-realities. Sabine Jelineks „natura morte“ may recall banal situations from a distance, but yet we watch everything through the artists eye. Her art works are treasures we terribly need to lay in inevitable space – between ourselves and the world. 

(excerpt, Brigitte Felderer)


"Ziehen die Schafe von der Wiese", 2017 (HD-Video, with sound, 2min 15)

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