Transparent Trash Bar

The entire garbage that incurred during the preparation of this exhibition was collected and reused for the Transparent Trash Bar. It aims to encourage an act of self-reflection: The own ecological production-chains are up for discussion. In everyday life as well as art trash is a constant side product. The trash disappears in the bin and the trash-creators don’t have to deal with it anymore. Valleys filled with trash and trash-islands in our oceans are rarely make it into our consciousness and therefor seem to not exist. The Transparent Trash Bar reminds viewers of their existence and puts the trash into focus.

 carmenfetz transparenttrashbar3 web   Transparenttrashbar web9A



Transparent Trash Bar 2019
object; recycled wood and glas, plastic trash

“Scrubs, Dinner” is a video projection dealing with different layers of society and the individual. While we are trapped in our reality, we are often not aware of the other. The other refers to what happens under the table, the leftovers picked up by someone, the things that are invisible and not spoken of. Yet they are always there just beneath the table. In our increasingly unjust society, some feast while the majority has to live on the scrubs of those most fortunate. The narrative of the dishwasher changing his life becomes more and more uncovered as a mere fantasy for the masses. Born poor or rich predetermines everyone’s future. The rich get rich, the poor get the scrubs. Born a dog or a human in this case.

Filterb   Filterbubble

Filter Bubble 2017
object; wire fence, paper, mirror, insolation foam, filters, paint, wood (65 x 65 x 60cm)
in collaboration with Gregor Rettenegger


Can be seen as an artwork or a picture that escapes contemplation. One is constantly requested to watch the projected road movie with concentration, focus the picture, while having the lever to do so in one‘s own hand. But every time focus is about to be achieved, the image flips away and is gone from the viewer’s sight. It´s only there for a split second before it escapes again.

This interactive machine is a metaphor for the impossibility of the recipient’s interpretation meeting the artist’s intention. Moments and memories can not be preserved no matter how hard one tries.


12 196n   12 201n

Road Trip 2013
object; metal, wood (20 x 45 x 65cm)




“Two Halfs” is a moving metal-sculpture on canvas. Instead of standing in front of the familiar static canvas, the two canvases that make up the picture are never still, moving at unpredictably varying speed in different directions.

This reflects on the relationship between object and observer as the intention of an artist will hardly ever exactly meet the interpretation of the viewer.



carmen fetz walze

Two Halfs 2014
kinetic sculpture; canvas, metal (30 x 30 x 7cm)

and another version:

12 168n   12 169nn

Park Bench 2014
kinetic sculpture; canvas, metal (30 x 30 x 7cm)

Box #2 plays with the visual expectations of the inter-actor. One would expect to see something in the black box once the light is turned on, yet the inside of the box appears entirely white and empty. Also when the light is turned off again one at first sees nothing as the eye is still not used to the dark. Only when a second glance in the box is dared, the fluorescent image becomes visible.

carmen fetz box web   carmen fetz boxinside web

Box #2 2014
What‘s inside a Box?
object; canvas, wood (30 x 30 x 30cm)


#BlankBox questions: What happens when the constant information and stimulation flow is cut of and is replaced by emptiness? Or what if someone in a mindset of excited consumerism is suddenly confronted with themselves? In a situation like this, is it possible to just observe? Can a connection to one’s inner space be accomplished by cutting off the acoustic surroundings?

Carmen Fetz Blank Box4 web    Carmen Fetz Blank Box2 web

Blank Box 2012
object; plexiglas, plastic, metal