Exhibitions 2018

 

 


Judith P. Fischer and Gottfried Ecker

 

 

Vernissage: Wednesday, September 5, 2018, 7—9 pm 

On the Exhibitions: Nina Schedlmayer

Duration: until October 18, 2018

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Judith P. Fischer | PILLOWTALK

Judith P. Fischer was born 1963 in Linz, Upper Austria.

She studied sculpture at the University of Applied Arts under Wander Bertoni and graduated in 1991. She lives and works in Vienna and Enzersdorf an der Fischa in Lower Austria.  

Judith P. Fischer’s work addresses the topics of change and transformation.Familiar forms and structures from nature and the everyday environment are placed in a new context. Form, texture, and color play central roles.

Her current series “Pillowtalk”, is about the contrast between the soft, sensual forms that one associates with a pillow and the stringent structure of their artistic manifestation. The bulky and massive forms of these objects are unique, their surfaces ensconced in delicate hand-drawn lines. 

Equally finely structured are her pencil drawings, which originate both in conjunction with the sculptures and on their own. They show an interplay of lines and areas at the junction of abstraction and the harmony of nature.

Fischer’s work can be found in numerous public and private collections.

 

pillows.4.you, 2018
mixed materials, 40 x 40 x 42 cm

 

Canola Yellow III, 2018
mixed materials, 27 x 20 x 20 cm

 

 

Pillowtalk 2, 2018
Bleistift auf Papier, mixed material
80 x 80 x 29 cm

 

Studio View

 

 

 

 

 

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Gottfried Ecker | New works on paper and book sculptures

 

Gottfried Ecker was born 1963 in Linz, Upper Austria and currently lives and works in Vienna.
Using classic images and design elements, the artist realizes a complex artistic concept.

His works are serene, poetic compositions that could have been inspired by films or scenes from a surreal theater play, and that evade exact definition. 

In Ecker’s new book sculptures, precisely chosen content elements are densified into carefully arranged compositions. The anonymous figures seem to be extracted from everyday reality. This creates spaces located between reality, dream, utopia, and illusion, the mood vacillating between threatening and melancholy.

His multi-part, painting-like formations are reminiscent of the color palette of Baroque painters and show the intense focus of the artist on Baroque painter Poussin in particular.

 

 

   

Studio view

 

Childhood memory, 2018
book, wood, oils, , 23,5, x 25,3 x 13,5 cm

Untitled, 2017/2018
graphite and watercolor on paper, 25.5, x 15.5 cm

   

Conversation with the Birds, 2018
book, wood, oils, 18 x 22.5 x 12.7 cm

 

Vernissage: Wednesday, September 5, 2018, 7—9 pm 

On the Exhibitions: Nina Schedlmayer 

Duration: until October 18, 2018

 

 

 


 

Franz Xaver Ölzant

Robert Zahornicky

 

Vernissage: Wednesday, Mai 23, 2018, 7pm

On the Exhibition: Elisabeth von Samsonow and Hartwig Knack

Duration: until June 30, 2018 extended until August 31, 2018

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Franz Xaver Ölzant | Interlacings

Throughout a continuous six decades of making art, Franz Xaver Ölzant (born 1934 in Styria, Austria) has consistently prioritized the aesthetic appearance of his pieces over his personal artistic signature. One characteristic that has emerged over the course of his long career as an artist is the fact that Ölzant has always worked with very different materials, for example bronze castings, plaster models, aluminum panels, and wire constructions. Observing his sculptural oeuvre, one sees how the artist has evolved away from figural pieces, made during his time studying at the (former) Academy of Applied Arts, and towards amorphous and vegetative works. A repeating theme that surfaces in Ölzant’s oeuvre is imperfection: Holes, bulges, knots, blemishes, and rips are characterizing features of many of his works. His sculptures, which can be classified as organic abstractions, have become more monumental over the years of his creative work, with his pieces also becoming edgier and more dynamic. This exhibition shows works in bronze and wire together with wall panels from the 1970s to 2011. Also, don’t forget to visit Franz Xaver Ölzant’s large stone sculpture in the public square across from the gallery entrance (O6, 1982, diorite, 80 x 210 x 55 cm, Palais Rottal).

 

 

   

N3, Barockvase, 1979, Bronze,
87 x 81 x 55 cm

   

E2, Dynamische Ringe, 1980, Bronze, 
49,5 x 34,5 x 36,5 cm

S9, 2002, Zinkdraht, Spachtelmasse,
gefasst, 49 x 110 x 31 cm

 

W4, 2006, Eisendraht, verzinkt, 72 x 63 x 65 cm

 

 

 

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Robert Zahornicky | Photograms

Although the first photograms were made in the mid-19th century, they did not reach the awareness of the general public until the early 1920s. Christian Schad and Man Ray developed their “Schadographs” and “Rayographs”, and Bauhaus teacher Laszlo Moholy Nagy created a theoretical and experimental foundation for this new type of artwork around the same time. Since the photogram technique doesn’t allow perspective views, Zahornicky uses other methods to achieve the impression of three-dimensionality. For his black-and-white photograms made from 1994–2012, the artist often worked with multiple exposures. Grains of rice, thin strips of paper, and clumps of dust are rotated in a series of two or three exposures, which are then superimposed to create an image that simulates several layers of spatial depth.

The dark background often evokes a feeling of endless space. Zahornicky puts this image to use with the series of photograms titled “Cosmos” (2012). The chaotically fine structures seem to float in cosmic distance, yet are nothing other than globs of dirt made of hair, dust, and sundry gunk that gathered under the artist’s bed. The topic of micro- and macrocosms is equally relevant in the “Universe” series from 1994, in which Zahornicky drips water on a glass plate before drawing in it with his finger. Surface tension causes the smears of water to remain, creating the impression of elliptical planetary orbits, yet also evoking images of a microscopic world seen through a microscope.

The visual language of “Rice Photograms” (1994) moves between open spheres where only a few dispersed elements make up the image, from a temporal-processual intensification of the throng of grains all the way to an extreme densification that fills almost the full dimensions of the image surface.

In his two-part work The Molussian Torso (1994), Zahornicky focuses on the human figure. Especially noticeable about this large-format piece is that, in contrast to photography, the photogram technique inverts the brightness values: Bodies appear bright and ephemeral, and light appears dark.

 

   

Universum, 1994,
Gelatin silver print, 
Unikat, 20 x 25 cm

Kosmos, 2012, RC-Print, Unikat, 18 x 24 cm

Reis, 9 Fotogramme, 1994,
Gelatin silver print, 
Unikate, ca. 4 x 5 inch

   

Papierfotogramme,
Gelatin silver print, 
Unikat, 20 x 30,5 cm

 

 

Vernissage: Wednesday, Mai 23, 2018, 7pm

On the Exhibition: Elisabeth von Samsonow and Hartwig Knack

Duration: until June 30, 2018 extended until August 31, 2018

 

 

 


 

April 11 to May 19, 2018

Virginie Bailly  
LICHTUNG
Painting 

Artist Virginie Bailly is showing new paintings in her second show at Galerie Straihammer & Seidenschwann, created under the influence of Mannerist painters such as El Greco, Di Volterra, and Pontormo. She is fascinated by the colorful light contrasts of these painters, but is also coping with an initial rejection of the Mannerist style.

Contemporary sources of inspiration are equally prevalent in Bailly’s painting, including images of war-torn areas of the Ukraine, of earthquakes, typhoons, and terrorist attacks. And just like Michelangelo Antonioni, who films a building exploding in the desert from various angles in slow-motion, thus imbuing the catastrophic moment with an aesthetic and picturesque feel, Bailly uses filters to “pixelate” her images. 

And so we see that abstract painting must by no means be apolitical.

 

   

Interpuncties D31, 100 x70cm, 2016

   

Interpuncties P43, 160x110cm, 2018

Interpuncties P45, 160x180cm, 2018 

Interpuncties P44,150x130cm, 2018 

 

 

  

Vernissage: Mittwoch, April 11, 2018, 7 pm 

On the Exhibitions: Elsy Lahner, Albertina and Hartwig Knack, Cultural Scientist and Art Historian 

Duration: unti Mai 19, 2018

 


 

April 11 to May 19, 2018

Hans Lankes 
LICHT UND SCHATTEN
Knife Cuts

 

Hans Lankes is fascinated by space and spaces, light and shadow. He transposes architectural motifs into abstract structures. He creates highly aesthetic delicate filigree images using an exceptionally fine cutting technique, toying with optical illusion and broken perspectives.

By utilizing the parameters of painting and drawing, yet extending them into the room, Lankes creates pieces of art that are on the cusp between graphic design and sculpture. These objects cast shadows on the wall. Not, as expected, in black or dark grey, but instead in different shades of red, or even brilliant green. PARNASS Art Magazine writes: “The delicate cuts of the knife seem to hover on a pillow of colored light.”

 

 

Tiny House Society

 

 

 

Quarz 9, 28x18cm Cloud schwarz, 40x18cm Wandwesen 2, 38x18cm

 

Vernissage: Mittwoch, April 11, 2018, 7 pm 

On the Exhibitions: Elsy Lahner, Albertina and Hartwig Knack, Cultural Scientist and Art Historian

Duration: unti Mai 19, 2018

 

 

 

 


 

28 February - 7 April 2018 

Im Dialog der Dimensionen

Giovanni Rindler und Brigitte Trieb

 

Vernissage: 27 February 2018, 7 - 9 pm 

Giovanni Rindler and Brigitte Trieb will be present.

On the exhibition: Gabriele Stöger-Spevak (Art Historian) and Petra Noll-Hammerstiel (Art Historian)

Duration: 28 February bis 7 April 2018

 

 

Giovanni Rindler 

Schwebende, 2014
Originalmodell aus Speckstein
Bronze/Kunststein, 1/3
20 x 42 x 20 com
(Foto: Pfluegl)

Titel 2, 2012
Bronze
41 x 24 x 25 cm
(Foto: Pfluegl)

 

Augusta, 2016
Bronze (Alu-Platte), 1/3
58 x 40 x 40 cm
(Foto: Pfluegl)

 

 

Blauer Kopf, 2017
Bronze, Alu, Unikat
54 x 44,5 x 10 cm
(Foto: Seidenschwann)

 

Brücke, 2016
Bronze, Alu, Unikat
20 x 73 x 37 cm
(Foto: Seidenschwann)

 

 

 

 

Brigitte Trieb 

Zeit der Ernte, 2016
100 x 100 cm

Regen im Frühling, 2016
100 x 80 cm

Kolumbianisches Mädchen, 2008  
70 x 80 cm

   

Asiatin, 2008
100 x  100 cm

   

Vernissage: 27 February 2018, 7 - 9 pm 

Giovanni Rindler and Brigitte Trieb will be present.

On the exhibition: Gabriele Stöger-Spevak (Art Historian) and Petra Noll-Hammerstiel (Art Historian)

Duration: 28 February bis 7 April 2018