PRESS

 

 

Exhibitions

Virginie Bailly und Krasimira Stikar

 

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Vernissage: 

Thursday, February 14, 2019, 7—9 pm 

On the exhibitions: 

Bailly: Elsy Lahner, Albertina

Stikar: Hartwig Knack, Art Historian and Cultural Scientist

Exhibition duration: 

until March 16, 2019

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VIRGINIE BAILLY
DAPHNES REQUEST
Paintings

 

Belgian artist Virginie Bailly will exhibit her latest works at Galerie Straihammer und Seidenschwann for the third time.

Titled Daphne‘s Request, the exhibition is an exploration of Greek mythology, based on a dream in which the artist was transformed into a tree.

With broad brushstrokes and grand gestures, the artist translates her thoughts into painting. She paints exclusively in oil, preferring glaze techniques to give the subject ample brilliance and depth. Some of the elements — agglomerations of brushstrokes and splotches of color — seem to want to take on a whole new state of being from one moment to the next. 

Bailly’s abstract paintings portray a dialogue between dream and the real world, fiction and reality, inside and outside, emptiness and abundance.

She creates organized chaos, using it to grasp incredibly dynamic tensions through the paintings.

 

Biography

Born in 1976 in Brussels

1993-1997 Studied Painting at the Ecole des 

arts d‘Anderlecht 

1998 Studied at the Ecole Supérieure des Beaux-Arts Montpellier (FR) 

1995-1999Studied Painting at the Hogeschool 

Sint-Lukas Brussels 

2000-03 Postgraduate studies at the Hoger Instituut voor Schone Kunsten, Antwerp 

 

Lives and works in Brussels.

 

 

Images (Download):

 

Images

left:
Apendix P1, 2018, 90 x 115 cm

Oil and mixed media on canvas

right:
Daphnes Request P2, 2018, 

80 x 60 cm
Oil and mixed media on canvas

bottom:
Aberratie P2, 2018, 70 x 60 cm

Oil on canvas

 

 

 

 

 

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Krasimira Stikar
PUNKT – GEDANKE – FLÄCHE
Drawings

 

In her new works, created in 2018, the Krasimira Stikar delves into an exploration of movement, statics, time, and space. Lines and surfaces cover the sheets. The lines grows out of a point, the most original form of representation, they are the tracks of a moving point. These lines are born out of movement, and, as Roman Signer, Explosion (Line), 1982, puts it: “from the destruction of the absolute self-contained serenity of the point.”

 Using points, lines, and symbols, we are brought to a plane of imagination that goes beyond rational thinking. Points and lines connect to supply information. Spaces and surfaces are created by means of points and lines situated on a two-dimensional surface. The abstract is transformed into something concrete and vivid. Things that are not sensory are made observable, analyzable, and reflective.

 The artist takes a great amount of time, quiet thinking, and contemplation to create these sensitive aesthetic works. This calm concentration seems to wash over the observer when looking at the pieces.

 

Biography

1980 Born in Ruse, Bulgaria

2002 - 2005 Studied Computer and Media Art at the Academy of Fine Arts Vienna, graduated 2005 Mag. art.

1999 - 2002 Studied Animation at the New Bulgarian University, Sofia

1995 - 1999 Nedka Ivan Lazarova fashion school, Ruse

 

Lives and works in Vienna

 

Images (Download):

 

Abbildungen

links:
WEITER GERADE AUS, 2018 

Bleistift auf Papier, 70 x 100 cm

rechts:
Richtung wechseln, 2018

Bleistift auf Papier, 100 x 70 cm

unten:
Schwerkraft blau, 2018

Acryl auf Papier, 70 x 50 cm

 

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Vernissage: 

Thursday, February 14, 2019, 7—9 pm 

On the exhibitions: 

Bailly: Elsy Lahner, Albertina

Stikar: Hartwig Knack, Art Historian and Cultural Scientist

Exhibition duration: 

until March 16, 2019

 

 

 


 

Exhibitions

Jenny Watson and Sophie Dvořák

 

 

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Vernissage: Wednesday, November 28, 2018, 7—9pm

On the Exhibition: Watson: Hannah Stegmayer, Author and Artist / Dvořák: Melissa Lumbroso, Albertina

Duration: until February 9, 2019

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JENNY WATSON | TALL TALES AND TRUE

PAINTINGS

 

Jenny Watson, born 1951 in Melbourne and one of Australia’s most important contemporary artists, represented Australia at the Venice Biennale in 1993.

She works with multi-part installations of painting, text, and sculpture. In her creations, she develops complex stories that have a feminist and socially critical bent while also allowing deep personal insight into her life. Her art explicitly addresses issues of female identity, with a boundary between autobiographical insight and fictitious findings that is deliberately unclear. Text and image do not necessarily align. 

In 2017, a large retrospective at the Museum of Contemporary Art in Sydney demonstrated the wide range of her work and its origins in conceptual art and the early punk movement. 

The Galerie Straihammer und Seidenschwann is pleased to represent this internationally active artist in Austria. 

Australian artist Jenny Watson (born 1951) came to the attention of a broad international public in 1993, when she represented Australia at the Venice Biennale. The head of the biennial, Achille Bonito Oliva, recognized the resounding combination of fiction and autobiography and expressed fascination with Watson’s artistic self-reflection, which claimed an autonomous position within the contemporary art scene.

The full installation she showed at the Biennale, Paintings with Veils and False Tails, consisted of canvas paintings with narrative drawings, panels with journal-like writings, and three-dimensional objects, namely ponytails and cloth bows. These attributes complemented one another to create typically feminine themes and the urge to identify the artist with them. After all, she is a dressage rider and breeds horses — a theme that recurs throughout her work, not only in this cycle. Several of the accompanying texts are written in the first person (“I feel like when my father used to dry my hair”) or focus on the artworks and their environment (“This painting is in the process of becoming important”). It is not unreasonable to assume a sexual allusion in the first case and ironic self-reflection in the second. The entire installation was impressive, intimate and sublime at once, and seemed to either reveal or at least comprehensively construct a psychological portrait of an individual. The viewer was overwhelmed and pulled into a strange space of intimacy.

However, anyone trying to nail Watson down about this narrative structure would have been disappointed. The connections between the texts and the images were only approximate: the paintings did not illustrate the text, and the text did not explain the images. Watson’s writings and images differ as much as possible from each other, making a palpable separation of the mental and visual apparatuses. The range of possible interpretations becomes an essential aspect of the work. Through their own personal interpretation, the observer experiences as much about themself as about the artist, becoming part of a psychoanalytic experiment, so to speak. At this point, it becomes clear that the artist is illustrating the process of interpretation. She invites the observer to interpret in sophisticated ways, scattering clues throughout different layers of drawing, providing complex and structured spaces for thought, and thus intervening to organize the observer’s experience.

The work, then, no longer reveals itself; it represents an elaborate form of conceptual painting, whose creator is participating in the current theoretical debate.

Jenny Watson’s work combines skillful, unembellished drawing with concise painted representations. Her imagery makes complex issues impressively visible, with image ideas that are coherent and metaphors reduced to the essentials.

Galerie Straihammer und Seidenschwann is showing her latest works, created during a stay in Japan in 2018.

 

1951  Born Melbourne, Australia.  

1972  Diploma of Painting, National Gallery of Victoria Art School, Melbourne  

1973  Diploma of Education, State College of Victoria, Melbourne  

1978-84  Partner in Art Projects, Melbourne  

 

Watson staged her first solo exhibition in 1973 and has since presented 60 solo exhibitions in Australia and 50 solo exhibitions in Europe, Asia, India, New Zealand and the United States.

In summer 2018 her work was shown in a solo-show – Jenny Watson. The fabric of fantasy- at the MCA Australia in Sydney.

Her work has appeared in numerous group exhibitions and is represented in state, corporate and private collections throughout Australia and overseas. 

Watson currently divides her time between Brisbane Australia and Europe

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SOPHIE DVOŘÁK | ALL LAKES ARE TEMPORARY

Drawings and collages

 

On the one hand, my work is concrete in what it deals with. I usually work very systematically, within an action space that I — more or less strictly — define myself. The results, however, leave a great deal of openness and encourage interpretation. This can quickly open up an aesthetic moment, because the pictures are appealing and it is possible to see them as beautiful and interesting without knowing the context from which they emerge. For myself, however, in the foreground is the attempt to negotiate the complexities of the world, not in a stubbornly scientific way, but with an artistic and even playful approach.(Sophie Dvorák)

Cit: Seeing the world from above, from a distant, Icarian viewpoint - that is both the reality and the fantasy of every „cartographic eye“. For the map is a familiar and ideal abstract: a surface of projection and signs, where the infinitely large is transferred to a plane, with its multiple connections and interconnections. Any map could be a voyage in thought, connecting a passage and a territory, the readable and the visible, by capturing the infinite within the smallest detail. (Christine Buci-Glucksmann)

 

1978 

born in Vienna, Austria

2004–2008 

Study at the Academy of fine Arts in Vienna and at the Glasgow School of Art in Glasgow, Scotland

Degree June 2008

2004/05 

Schule für künstlerische Photographie, Friedl Kubelka

 

 

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Jenny Watson / Images (Download):

 

images

ohne Titel, 2018,
Acryl on fabric

 

 

 

 

 

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Sophie Dvořák  / Images (Download):

 

images left  
from the series “All Lakes Are Temporary” 
2018, Collage and ink on cardboard

 

images right 
Glitches, 2016, 35x25, Ink on Paper

 

 

 

 

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Vernissage: Wednesday, November 28, 2018, 7—9pm

On the Exhibition: Watson: Hannah Stegmayer, Author and Artist / Dvořák: Melissa Lumbroso, Albertina

Duration: until February 9, 2019