There is a certain humor in Sebastian Koch's definition of the line in his paintings. The line is disturbing the surface, it creates a dialogue between the surface of the canvas and the line and is also creating space in the painting. He is drawing the line until the associative potential is taking over the surface and is creating some references 'outside' of the canvas. Lines are somehow becoming signs which we cannot read literally as something known or concrete. But we are getting into some idea of these forms even if they remain enigmatic at all. On the other hand Koch is guiding our attention to the painting as a construction of material when he is using a certain framing that gives us the possibility of examining the edges of the canvas. This framing is a reference to the painting of the 50s when painting was facing this major theoretical problem: Is painting a field of projections of the outside world or is it just a construction of material? Koch is playing with both approaches discussing them with a humorous notification that signs and meaning will always remain uncertain or in some way unclear.
In his works, Sebastian Koch does not apply a reductionist approach, abstracting certain forms from a given reference model. His works do not represent the painstaking reproduction of a model, be it in nature or in art. Nor are they the result of a constant testing of the artistic medium for the sake of it. For Koch, everything is material and as a result his approach is rather playful. However, he does not differentiate between artistic material, conceptual material and the actual material with which the paintings (and modern sculpture) are created, namely paint, wood, frame, canvas etc. Of course it goes without saying that he is in a constant dialogue with art. For as soon as he makes even the slightest intrusion into the painting medium, the game begins and with it the burden of representation. Painting and the discourse thereof has developed enough since the beginning of the 20th century to be ripe with subjects for discussion. Koch’s palpable thirst for this debate, which goes far beyond art is also reflected in title of this exhibition.
Text. Harald Krejci
Biographie / Biography:
geboren 1986 in Vorarlberg, AT., lebt und arbeitet in Wien / born in Vorarlberg, AT., lives and works in Vienna.
2007–2012 Academy of Fine Arts Vienna. 2010 Residency of Open Source Gallery in New York.
Co-founder and editor of the the comic magazine "Franz The Lonely Austrionaut“. Part of the band Rambo Rambo Rambo.
Einzel und Gruppenausstellungen (Auswahl) / Solo and groupshows (selection):
2020 Solo presentation Krobath Wien, AT. 2019 Group show „Gazing into the void“, Bjorn&Gundorph, Aarhus, DK. 2018 Solo presentation Krobath Wien, AT. 2017 Solo presentation „floginim“, Geukens & De Vil, Knokke, BE . 2016 Solo presentation Krobath Wien, AT. „Die Gegend um Xero“, Palais Thurn und Taxis, Bregenz, AT.“how to pt. 1", Druckwerk Lustenau, AT. 2015 „Art Groupie“, Industra, Brno, CZ. m.oë, Wien, AT. Destination Vienna, Kunsthalle Wien, AT. „walk with me, talk with me, love with me“, wellwellwell, Wien, AT. Künstlerhaus Palais Thurn und Taxis, Bregenz, A. 2014 Solo presentation „Funmachine“, Luis Leu, Karlsruhe, D. „Was Sie Lesen“, Künstlerhaus Palais Thurn und Taxis, Bregenz, AT. ”We Are Not Sisi”,Vondelbunker, Amsterdam, NL. 2010 “No matter Where You Go, There You Are“, Open Source Gallery, New York, USA.
Preise/Awards: 2011 Erster Preis "Künstler am Werk" der Lenzing AG, 2019 Kulturpreis des Landes Vorarlberg.