Esther Stocker

Untitled, 2022
acrylic on cotton
140 x 160 cm
unique

Dispositives and Interferences

Notes on the work of Esther Stocker

The horizon of the lowlands of Holland, a suspended pier in an almost monochromatic continuum of sea and sky, can be translated into an extremely simplified image on canvas (Mondrian). But something occurs when this simplification happens. On one hand, it’s as if from the viewing experience structured lines have emerged that assemble the vision of the objects observed: a sort of immaterial ideography, where reality tends to expose itself as “essential.” On the other hand, something else emerges from this ideography on canvas, the surface on which the images are realized: the orthogonal structure of the inherent lines of the painting’s primary geometric form. The grid—oscillating between the essence of the vision of objects and the geometric components of the painting through which that very vision is rendered—has represented in the history of Western painting an extraordinary dispositive that reflects reality. The viewer is placed not only in front of an essence that denies every comforting sensation with which the world clothes him and a concrete revelation of the painting “by itself,” but also in front of an essential dimension of his own being that does not have much to do with his personal culture, personal history and tastes, but instead regards the general and “anonymous” characteristics of his (and obviously not just his) psycho-perceptive condition.
In this condition we must perceive an irregular black area as if it were a rectangle that “continues” below a blue triangle (Malevich). From the reduction of the multiplicity of the world (even if it is the already extremely simplified Dutch world by Mondrian) to the steady structures of the images, the revelation of what constitutes the “internal” structure of the surface, which receives the image, touches no ontological foundation of the image (as Rosalind Krauss would say). But in the case of the receiver of the image—that is the observer/viewer—naturally he perceives the image even before being conscious and aware of it. That the black rectangle seems to continue underneath the blue triangle (in a gestalt environment this is called “amodal completion”) is the game, then discovered, of how things appear, not how they are. Our lives take place within the constitutive asymmetry between thinking/knowing and seeing, in a constant and definite balance and reorganization between what we see and what we actually know about what we see.
So there on the canvas, the image is at the same time something to see and to know/think about, highlighting the intimate structure of reality (just as supporting structures of a building come to light despite the ornamentation); where the structural characteristics (the grid) are highlighted by the same surfaces that receive the image, (ideally making the image and the surface one), when in some way a truth of the image seems revealed in the splendor of the tautology and in the utopia of transparency—this is where the perceptive characteristics of the receiver of the image come into play; characteristics that highlight ambiguity, not certainty—
relative to what I see little by little—but both are part of the same physiological act of seeing things. Esther Stocker is correct when she reminds us that something extremely complex happens when a sign meets a surface.
There’s also another affirmation, perhaps even more inherent in her research, which merits our attention. It can be described by this quotation: “The mimicry of animals is based on the limited perceptions of their predators.” In the light of this quotation, let’s consider the work of this Viennese artist and try to comprehend where this movement occurs when it is portrayed in her research of geometric abstraction, by now a classic in the modern age and in the research of the 1950s and 1960s, in particular by Italian artists (Colombo, Varisco, De Vecchi, Mari). The concept of mimicry (Tarnung, camouflage) to me seems fundamentally unrelated to modernism. If it did contribute to the philosophic-platonic background of the issue of images and imitative arts in general, it contributed to a background linked to the concept of Mimesis.
The concept is very effective in confirming the distinction between painting and other techniques, condemning painting for its vain and deceiving production of mere representations of reality. A substantial amount of twentieth-century art came out of mimicry, or rather the concept rediscovered the beauty of numbers and order, even if in a Pythagorean-Platonic environment. In a rigorous arrangement of very few elements, the image on the canvas translated a dimension illusive from reality but in this case ideal: In the painting a visible aspect of the idea is shown.
In the fields dedicated to the study of animal behavior, the terms mimetic or mimicry do not at all refer to the philosophical problems of Plato; instead they refer to survival techniques. The term is used even among humans, mostly in military language, and still carries a definition connected to hiding oneself and blending into a given situation with a defensive or offensive objective.
This definition of mimicry, which is quite different from Platonic echoes, seems useful to get close to Stocker’s work. I notice that when observing her work I have difficulty describing it (am I alone in this?), because she insists on ambiguities and uncertainties in appearance; because it is an elusive work that at the same time is precise. It seems to be a strategy to attract the viewer, and just as when we have trouble bringing an object into focus, our gaze persistently returns to it. It is a work that camouflages itself in the folds of perception and a catalogue of solutions and elaborate, modern dispositives. Is it then a work of defensive camouflage for the observer/predator? Or a subtle “offensive” strategy in order to propose the problem of the autonomy of “vision,” a problem that does not seem at all to have been exhausted by current, contemporary research. In this way, one knows that Stocker’s work doesn’t at all concern a rethinking of aspects that have been analyzed for some time by Gestalt psychology, and that the work is not based on gestalt logic, even if it reminds one of that. This is the clear plan, the revealed game, the “confessed” camouflage. The orthogonal grid, a dispositive for excellence, is a game revealed and present in her works since 1997. The grid is presented in various ways, some of which show a partial cancellation of lines as if a regulating dispositive were suffering a progressive loss of meaning: Sometimes some lines appear incomplete, and the eye instinctively averts the interruption and tries to go beyond it and connect the detached parts; and geometric figures emerge from the orthogonal net, but it is as if they were indecisively oscillating back and forth from the net. But it probably no longer concerns the pictorial grid but an even more complex regulating system of the image that shows its leaks—a system that “reveals” in itself its weaknesses and at the same time more effectively camouflages itself—like files on a hard disk corrupted by an undetectable virus. In some previous reviews, Stocker’s works have been compared to urban maps or to the layout of buildings in a metropolis. And like a hard disk’s files that are disappearing, possible plans and urban maps are superimposed on the surface areas of a big city: Here the works obviously suggest some narrative connections in an attempt to interpret them, as if the images were speaking to us of today’s times. But this more “narrative” reading does not exclude the perceptively ambiguous plan of the work, and it does not exclude its being, from a formal view, an internal reflection on the big, analytical dispositive of painting, and in particular that of twentieth-century geometric abstraction. And it all starts, as always, from the surface of a painting, recalling a visual, minimalist grammar composed of very few elements: orthogonality (and the interferences that “disturb” it), background/figure, white/black and their gradations. And it is perhaps the strongest reference to Italian research; everything is in view, from a new relationship with the observer to the way the observer enters into the game of the work of art. Work which, in the most recent pieces by Stocker, consists not only of “paintings,” but also of “environments” (and here the Italian issue forcefully re-emerges: Gianni Colombo’s “elastic” space seems to be a lesson that the Viennese artist has deeply assimilated), where the “white cube” of the museum and the gallery are to be acted upon and revealed as an ideal place of the “capture.” Maybe the next step will concern the city itself; several years ago in South Tyrol, Stocker attempted this. Contemporary artists continue to research this, because it is in the public space where this game of form will be played, and where the plan of the “vision” of its full and problematic autonomy will be considered again.

In every serious philosophical question uncertainty extends to the very roots of the problem. (Wittgenstein)

Text: Riccardo Caldura

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Works

Works

Biography

Esther Stocker

Lives and works in Vienna.

1974 born in Schlanders, Italy
1994 Academy of Fine Arts, Vienna (Prof. Eva Schlegel)
1996 Accademia di Belle Arti di Brera, Milano, Italy
1999 Art Center College of Design, Pasadena, California

Solo Exhibitions (Selection)

2024Ambienti, MAXXI Museo nazionale delle arti del XXI secolo, Rome IT
Contradictions, Mondriaanhuis Amersfoort, NL
2023A mental scenario, Fondazione Alberto Peruzzo, Padua , IT
2022“Esther Stocker: Return to Rationality” Galleria 10 A.M. Art, Milan
2020„Loving Imperfectly“, Galerie Alberta Pane, Paris
2019„Anarchy of Forms“, drj art projects, Berlin
„SANS LIMITE“, Galerie St. Hilaire, Fribourg
2018Birgit Lauda Art Foundation, Wien
„Geometrisches GlĂŒck“, Museum gegenstandsfreier Kunst, Otterndorf
2017Galerie Frey “Out of Order”, Wien
2016 “APPROXIMATION LINÉAIRE”, LA BF15, Lyon France
12.11.2016-14.01.2017
“Esther Stocker: From the Future”, KHB-Kunsthalle Bratislava, 30.09.-20.11.2016
“Esther Stocker: Geometrien”, Marcello Farabegoli Projects @ Italienische Botschaft – Palais Metternich Wien
2015“Esther Stocker. Die Tarnung der Bilder Ausstellungsreihe: Intervention – FlĂŒchtige Raumgrenzen”, Kunstverein Ludwigsburg
2014“Esther Stocker. VerrĂŒckte Geometrie”, Kunstverein Ulm
“Esther Stocker. Zweifel an der Geraden”, Kunstraum Dornbirn
Esther Stocker, Schloss Kastelbell
2013“Esther Stocker: Unlimited Space”, The Gallery of Modern Art, Roudnice nad Labem
“Esther Stocker”, Krobath Wien
2012“Portrait of Disorder”, Museum Ritter, Waldenbuch
“Form follows Vision”, Galerie Alberta Pane, Paris
“Degrees of Freedom”, Volkart Stiftung, Winterthur
2011“Difesa delle forme libere / In defense of free form”, Oredaria Arti Contemporanee, Rom
“Dirty Geometry”, Galerie Alberta Pane, Paris
“Destino Comune”, Museo dÂŽArte Contemporanea, Rom
“Gestalt, Stufen zur Kunst”, KĂŒnstlerhaus Hannover
“Abstraktion und Verirrung”, Kunsthaus Kaufbeuren
“The Essential Collection”, ZĂŒrich
2010“La solitududine dell’opera (Blanchot”), Galleria Studio 44, Genua
Krobath, Wien
Krobath, Berlin
Wannieck Gallery Brno, BrĂŒnn
2009“Nothing could be done – men were only men, and space was their eternal enemy”, (ELLISON), mkd – DĆŻm uměnĂ­ | House of Art, ČeskĂ© Budějovice
2008“What I don’t know about space”, Museum 52, London
“Abstract Thought Is A Warm Puppy”, CCNOA – Center for Contemporary Non-Objective Art, BrĂŒssel
Galerie Krobath Wimmer, Wien
“geometrisch betrachtet”, Mumok – Museum Moderner Kunst Stiftung Ludwig Wien, Wien
2007“Noise. Von der Kunst der Malerei”, Staatsoper, Wien
“Esther Stocker”, Ragenhaus Bruneck
Galerie im Taxispalais, Innsbruck
2006Galleria Contemporaneo, Mestre, Italien
Galleria unosunove, Rom (mit Peppe Perrone)
2005“Geometrisch betrachtet sind alle Richtungen im Raum gleichwertig”, Projektraum Deutscher KĂŒnstlerbund Berlin
“Der Zusammenhang zwischen Teilen”, Plattform, Berlin
Minoritengalerien Graz
Deutsche Bundesbank, Frankfurt
“Was sind das fĂŒr GegenstĂ€nde, die wir voraussetzen? (Quine)”, Galerie Krobath Wimmer, Wien
2004“Das Wort ‚gleichartig’ zieht unsere Aufmerksamkeit auf sich und doch besagt es eigentlich gar nichts”, AR/GE Kunst Galerie Museum, Bozen
Galerie Martina Detterer, Frankfurt (mit Robert KlĂŒmpen)
2003Galerie im Kunsthaus MĂŒrz
Galerie im Trakl-Haus, Salzburg (mit Suse Krawagna)
Galerie Krobath Wimmer, Wien
“Who needs structure”, Open End, Chicago (mit Marc Le Blanc)
2002Galerie Christine Mayer, MĂŒnchen | Munich (mit Klaus Auderer)
2001Galerie Krobath Wimmer, Wien
Galerie Antonio Ferrara, Reggio Emiglia
1997Malerei, Galerie Trabant, Wien
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Group Exhibitions (Selection)

2024ALL OVER, Haus Konstruktiv ZĂŒrich, Switzerland
2022Parallel Skulpturenpark, Toscana Park Gmunden, Gmunden
“Anniversaire de la Fondation Aurelie Nemours – 20 ans exposition collective, Centre d’art privĂ© dĂ©diĂ© au dessin contemporain, Paris
“Collections of Echigo Tsumari Triennale 2022, Niigata, Japan
“Lost in Space”: Raum, Ding und Figur
Entwicklungen innerhalb der Skulptur seit 1945″, Museum Liaunig, Neuhaus
2020Groupshow Krobath Wien, Wien
„NON-SCULPTURE: LIGHT OR FLEXIBLE“, 2020 Changwon Sculpture Biennale, Changwon
„MIND THE GAP“, Museum fĂŒr Konkrete Kunst, Ingolstadt
„Der Traum von einem Feentempel“, artistic intervention at Salzburger Festspiele, Salzburg
2019“Konkrete Gegenwart – Jetzt ist immer auch ein bisschen gestern und morgen“, Museum Haus Konstruktiv, ZĂŒrich
RAN, Roppongi Art Night, Tokyo
„Schwerpunkt Design II“, Kunst im Traklhaus, Salzburg
CENTURY, drj-artprojects, Berlin
„Building a Dialogue. Two Corporate Collections of Contemporary Art“, Belgische Nationalbank, BrĂŒssel
2018„Extended Architectures“, Galerie Alberta Pane, Venezia
„Broken Lines“, Galerie Schmidt, Reith
„Complexity“, Galerie XXI, Warsaw
„Black Mirror“, Mario Mauroner Contemporary Art, Wien
„Klassentreffen“, Werke der Sammlung SchĂŒrmann, Museum Moderner Kunst Stiftung Ludwig, Wien
„GameOmetry“, Vasarely Museum Budapest, Budapest
„20 Jahre RLB KunstbrĂŒcke“, Innsbruck
2016Marta Herford „Der fremde Raum“, 29. 10. 2016 – 5. 02. 2017, Marta Herford (Gehry-Galerien)
Setouchi Triennale 2016, Japan
“Malerei im Raum ABSTRAKT – SPATIAL”, Kunsthalle Krems
“DYSTOTAL”, Ludwig Forum Aachen
Augen-Blicke, Museum Liaunig, Neuhaus
Setouchi Triennale, Takamatsu
ABSTRAKT-SPATIAL, Kunsthalle Krems, Austria Accrochage, Galerie dr. Julius I ap. Berlin
Germany Tensioni strutturali #1, Galleria Eduardo Secci, Firenze, Italy Rendezvous Der Lander, Neuhangung der Sammlung Peter C. Ruppert, Konkrete Kunst Europa Nach 1945, Museum im Kulturspeicher, Wurzburg
Le temps de l’audace et de l’engagement – De leur temps 5, Institut d’art contemporain, Villeurbanne/RhĂŽne-Alpes (IAC), Villeurbanne, France
2015“Ein Quadrat ist ein Quadrat ist ein Quadrat. Highlights aus der Sammlung Marli Hoppe-Ritter”,Museum Ritter, Waldenbuch
“ANNA-MARIA BOGNER| MICHAEL KARGL | ESTHER STOCKER. Seeing Things”,Bildraum 07, Wien
“Esther Stocker & Pavel Hayek”,Galerie ZAVODNY, Mikulov
“Anna-Maria Bogner | Esther Stocker”,RLB KunstbrĂŒcke Innsbruck
Museum Liaunig, KĂ€rnten,Gang zur Glas- und Portraitminiaturen-Sammlung
2014ART & SCIENCE – 17th Edition of the Islamic Art Festival in Sharjah
“In, Out and Art. Zum gegenwĂ€rtigen VerhĂ€ltnis von Architektur und Kunst”, Forum Stadtpark, Graz
“konkret-abstrakt, Parlament, Wien
2013“Entfernte NĂ€he”, Kunstgaleriebonn, Villa Faupel, Bonn (mit DĂłra Maurer)
“Susanne Paesler, Esther Stocker”, Kunstverein Friedrichshafen
“Trait Papier. Un Essai sur le Dessin Contemporain”, Centre d’Art Contemporain, Yverdon-Les-Bains
“Esther Stocker, Eric Glavin, Robin Merkisch”, Spam Contemporary, DĂŒsseldorf
“Farbe Raum Farbe”, Georg Kolbe Museum, Berlin
Brno Art Open 2013, Sculpture in the streets, Brno
“GEO-NEO_POST”, OSAS, Vasarely Museum Budapest
2012“Subjective Involvement in Physical Spatial Entities”, Oredaria Arti Contemporanee, Rom
“Abstraktion und Substraktion”, TemporĂ€re Autonome Zone, Galerie Lisa Ruyter, Wien
“Edifice Amiss: Constructing New Perspective”s, MassArt, Massachusetts College of Art and Design, Boston
“The Meeting. On the life and work of Karl Spörk”, ISCP Brooklyn, New York
“Desiring the Real”, MUAC, Mexico City
“Utopie GESAMTKUNSTWERK”, Belvedere, 21er Haus, Wien
“Rasterfahndung. Das Raster in der Kunst nach 1945”, Kunstmuseum Stuttgart
“Mind the System Find the Gap”, Z33 – house for contemporary art, Hasselt, Belgien
Collection Sigrid and Franz Wojda, Museum Moderner Kunst KĂ€rnten, Österreich
DER GEMALTE RAUM Werke aus der Sammlung Essl
2011“Beyond these I see You see””, Zbiornik Kultury, KrakĂłw (mit Isa Schmidlehner)
“FĂŒnf RĂ€ume”, Austrian Cultural Forum, New York
“Corrispondenze Imprevisite”, Zur 54. Kunstbiennale von Venedig
“Plane, depth, space”, Moravian Gallery Brno, BrĂŒnn
“Abstraction/ModernitĂ©”, Centre d’Art Passerelle, Brest
“Abstraction/Quotidien”, Centre d’art Passerelle, Brest
“ZĂ€hmung des Blicks”, Kulturstiftung der Nationalbank Griechenlands, Thessaloniki
“LIES AND LAYERS: ESTHER STOCKER AND JAN SERYCH”, Hunt Kastner, Prag
“Konkret – Konstruktiv – Minimal”, Haus der Kunst, Baden
“Anabasis. Rituals of Homecoming”, Ludwik Grohman Villa, Lodz
“Zwischen den Zeiten – Schnittstelle 2011”, Ausstellung der Kunsthalle Erfurt, “Peterskirche auf dem Petersberg”, Erfurt
Italienisches Kulturinstitut, Palais Sternberg, Wien
“Konkret – Konstruktiv – Minimal”, FeRRUM-welt des eisens, Ybbsitz
“Contemporary Design by Contemporary Artists”, ak 7, Galerie Elisabeth & Klaus Thoman
2010“Architektur und Körper – Katrina Daschner, Maria Hahnenkamp, Ć ejla Kamerić, Dorit Margreiter, Ursula Mayer, Esther Stocker”, Krobath Berlin
“The Art of Design. Ak7 Contemporary design by contemporary artists”, freiraum quartier21 International, Wien
“Originalfunktional. Zeitgenössisches KĂŒnstlerInnenmobiliaraus der Wiener Werk-Stadt”, Wiener Art Foundation, Wien
“Architektur und Körper – 4 fotografische Positionen von österreichischen KĂŒnstlerinnen”, Österreichisches Kulturforum Prag
“High Ideals & Crazy Dreams”, Vera Munro, Hamburg
“With Your Eyes Only”, YUM, BrĂŒssel
“For Your Eyes Only”, De Markten, BrĂŒssel
“My Eyes keep me in Trouble”, La Station, Nizza
“Abstraction and Structure”, Bernhard Knaus Fine Art, Frankfurt
CORSO Werke der Sammlung Essl im Dialog
2009“SAMMELLUST. Werke aus der Sammlung Finstral”, kunst Meran
“With Your Eyes Only. Display Reduktive Kunst”, Kunstverein Medienturm, Graz
“Kardinal-König-Kunstpreis fĂŒr Bildende Kunst”, Kunstraum St. Virgil, Salzburg
“Kleine Formate”, Galerie Martina Detterer, Frankfurt am Main
“CELLA. Strukturen der Ausgrenzung und Disziplinierung”, Complesso “Monumentale di San Michele a Ripa Grande”, Rom
“Good night, sleep tight”, UpLoad Art Project, Trient
“Nocturnes. Young Italian Artists on Museion Facade”, Museion, Bozen
Wiener Musterzimmer, Orangerie, Unteres Belvedere, Wien
Zero Budget Biennial, Galerie Carlos Cardenas, Galerie schleicher+lange, Paris
“Anabasis. Rituals of Homecoming”, Festiwal Dialogu Czterech Kultur’09 | “Festival of Dialogue of Four Cultures’09”, Ludwik Grohman Villa, ƁódĆș
“Beyond these Walls”, South London Gallery, London
“Confines. Geography of the Boundary”, IVAM – Institut ValenciĂ  d’Art Modern | IVAM CENTRE JULIO GONZÁLEZ, Valencia (kuratiert von Aaron Betsky)
“seeking constructive concrete structural 2.”, Vasarely MĂșzeum Budapest
“Labyrinth::Freiheit” – Landesausstellung 2009, Franzensfeste Fortezza / Franzensfeste Festung, SĂŒdtirol, Bozen
“Get connected”, KĂŒnstlerhaus, Wien
“BRANDNEU”. AnkĂ€ufe 2007 – 2008, Essl Museum, Klosterneuburg
“Works on Paper”, Museum 52, London
“Die Macht des Ornaments”, Orangerie, Unteres Belvedere, Wien
“Augmented”, Galerie Strickner, Wien
2008 “There’s a better way to spend an afternoon”, Museum 52, London
“the truth of basics, resetting the history of living between four walls”, Lift off 2008, Onomatopee, Eindhoven
“didi sattmann. kĂŒnstler / freunde”, KĂŒnstlerhaus, Wien
“YO, MO’ MODERNISM… 1”, Brussels Biennial, Off-Program, CCNOA – Center for Contemporary Non-Objective Art, BrĂŒssel
ViennArt: “Entscheidungen. Wien und das symbolische Kapital”, MUSA – Museum auf Abruf, Wien
“My Eyes keep me in trouble”, SCA – Sydney College of the Arts, Sydney
“Genau + anders – Mathematik in der Kunst von DĂŒrer bis Sol LeWitt”, Mumok – Museum Moderner Kunst Stiftung Lugwig Wien, Wien
ART SHEFFIELD 08: “Yes, No, Other Options, Millenium Galleries”, Sheffield
Arrivi e Partenze. Italia. Artisti al di sotto dei 35 anni, Mole Vanvitelliana, Ancona
2007“5 plus 5 KĂŒnstler aus 5 Jahrzehnten”, Investkredit Bank AG, Wien
“Wann immer vorerst”, BA-CA Kunstforum, Wien
“Scuola di Pittura”, Galleria Civica di Arte Contemporanea Trento
“Otto Mauer und seine PreistrĂ€ger”, Investkredit Bank AG, Wien
GALERIE. FOCUS WIEN, Kunstraum Innsbruck
“PASSION FOR ART – 35 Jahre Sammlung Essl”, Klosterneuburg
“Ob ich das sehe”, Kunstverein Heidelberg
2006NEUANKÄUFE. JUNGE MALEREI, Sammlung Essl, Klosterneuburg
“Austrian Abstracts”, Artis et amicitiae, Rotterdam
“Modus Moduli”, Spazio Thetis, Venedig
“CoĂŻncidence suspecte”, CAN – Centre d’Art de NeuchĂątel
“Black/white & chewing gum”, Galerie Krobath Wimmer, Wien
“Ins Leere, Zacherl”-Fabrik, Wien
Zeitgenössische Kunst im Parlament, Wien
Österreich 1900-2000. Konfrontationen und KontinuitĂ€ten, Sammlung Essl, Klosterneuburg
“abstrakt”, Niederösterreichisches Dokumentationszentrum fĂŒr Moderne Kunst, St. Pölten
“Opera Austria”, Centro per lÂŽArte Contemporanea Luigi Pecci, Prato
“Kunst fĂŒrs 20er Haus”, Österreichische Galerie Belvedere, Wien
2005“Intermittent Territory for Alienated Figures”, Outrageous Look, New York
“passion beyond reason”, wallstreet one, Berlin
“FarbrĂ€ume. Positionen aktueller Malerei”, MMKK – Museum Moderner Kunst KĂ€rnten, Klagenfurt
“extension turn”, Kulturforum der Österreichischen Botschaft Tokyo, Tokio
“Entdecken und Besitzen. Einblicke in österreichische Privatsammlungen”, MUMOK – Museum Moderner Kunst Stiftung Ludwig Wien, Wien
“Das Neue II”, Österreichische Galerie Belvedere, Wien
2004“Premio Del Golfo” – Biennale Europea Arti Visive, La Spezia
“Kleine Formate”, Galerie Martina Detterer, Frankfurt
“Vienna Coffee table”, Galerie Bernhard Knaus, Mannheim
“no risk – no glory”, loop-raum fĂŒr aktuelle Kunst, Berlin
“GEGEN-POSITION(EN). KĂŒnstlerinnen in Österreich 1960-2000”, Museum Moderner Kunst, Stiftung Wörlen, Passau
“Der doppelte Blick”, Palais Thurn und Taxis, Bregenz
2003“Einbildung – Das Wahrnehmen in der Kunst”, Kunsthaus Graz
“Favorites +”, Galerie Fortlaan17, Gent
“Panorama 03”, Bozener Bahnhof, Bozen
“Mimosen, Rosen, Herbstzeitlosen”, Kunsthalle Krems
“Painting Show”, Austrian Art Studio, Chicago
“Menschen, Kunstsammlung Volpinum”, Wien
“Außer Atem”. Fokus österreichische Malerei, Naussauischer Kunstverein, Wiesbaden
2002“Hier ist Dort 2”, Secession, Wien
“CHinA. Schweiz in Österreich”, Kunstsammlung Volpinum, Wien
“Collector’s Choice”. Sammlung Ploil, Neue Galerie, Graz
“current settings – Der mediale Blick als Transfer”, Kulturforum Hallein
“Variable StĂŒcke. Strukturen/Referenzsysteme/Algorithmen”, Galerie im Taxispalais, Innsbruck
“Eva Schlegel Connected”, Galerie 422, Gmunden
“Favorites”, Edition Artelier Graz
2001“Experimenta Blackbox”, Victorian Arts Center, Melbourne, Australien
“Verstörtes Äußeres”, Kunstsammlung Volpinum, Wien
“Nerven”, Galerie Kai Hilgemann, Berlin
2000“mission impossible”, Galerie Charim Klocker, Wien
1999Galerie Charim Klocker, Wien
“Gender Troubles”, Schikaneder Kino, Wien
“Nicht aus einer Position”, Semperdepot, Wien
“Weg aus dem Bild”, Galerie Georg Kargl, Wien
1998Galerie Krobath Wimmer, Wien
“Spices, Academies, Diversities”, Semperdepot, Wien
“Schauplatz Goldrain”, Schloss Goldrain, Italien
1997“anwesend/abwesend”, Getznerfabrik, Nenzing, Österreich
1996“The very last Minute”, Semperdepot, Wien
“Freitag der 13.”, Atelier 96, Wien
1995“Event”, Institute for Conteporary Art, Academy of Fine Arts, Wien
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Selected projects – art in public space & site-specific works

2023Austrian Parliament, Vienna
2019“SQUARE UNIVERSE”, SUSAS 2019 – Shanghai, China
2013Kunsthalle Palazzo, Liestal
2012Display der Ausstellung “Utopie Gesamtkunstwerk”, 21er Haus, Wien
“Parking Mazelle”, Metz
2010Undercover, Gdansk Outdoor Gallery Laznia, Gdansk, Polen
‘Wandarbeit Nr. 26’, Wohnhausanlage Ehemalige Brauerei Liesing, Österreich
2009O.T., Ausstellung “CELLA. Strukturen der Ausgrenzung und Disziplinierung”, Complesso Monumentale di San Michele a Ripa Grande, Rom
“Nothing could be done – men were only men, and space was their eternal enemy. (Ellison)”, House of Art, ČeskĂ© Budějovice
“Wiener Musterzimmer”, Orangerie, Unteres Belvedere, Wien
O.T., Ausstellung “Beyond These Walls”, South London Gallery, London
Wandarbeit Nr. 23, Foyer Mariahilferstrasse 4, Graz
O.T., 2009, Ausstellung “Confines. Geography of the Boundary”, IVAM – Institut ValenciĂ  d’Art Modern | IVAM CENTRE JULIO GONZÁLEZ, Valencia
O.T., 2009, Ausstellung “Labyrinth::Freiheit – Landesausstellung 2009”, Franzensfeste Fortezza / Franzensfeste Festung, SĂŒdtirol, Bozen
Wandarbeit Nr. 22, 2009,” Augmented”, Galerie Strickner, Wien
2008O.T. (Eindhoven), Ausstellung/exhibition “the truth of basics, resetting the history of living between four walls.“, Lift off 2008, Onomatopee, Eindhoven
O.T. (42 Lightcafé & Restaurant), via Orazio, Bolzano
O.T. (Hypobank Innsbruck), Cafeteria Hypobank, Innsbruck
“What I don’t know about space”, Ausstellung/exhibition MUSEUM 52, London
“Abstract thought is a warm puppy, Ausstellung/exhibition CCNOA – Center for Contemporary Non-Objective Art, BrĂŒssel
Wandarbeit Nr.21, Open Space, Art Cologne
Wandarbeit Nr.20, ARS – Akademie fĂŒr Recht und Steuern, Wien
geometrisch betrachtet, Ausstellung/exhibition Museum Moderner Kunst Stiftung Ludwig Wien, Wien
2007Wandarbeit Nr.19, Mariahilferstrasse 4, Graz
Wandbild Dorotheum, Treppenhaus Palais Dorotheum, Wien
Wandarbeit Nr.18, Kunstart Bozen, Bolzano
Antigravitation: Beweis Nr. 2 (Intervention mi / with Johanna Kirsch), Elektro Gönner, Wien
Container NiederstÀtter, NiederstÀtter AG, Brixen
Wandarbeit Nr.17, Ausstellung/exhibition „Passion for Art“, Essl Museum, Klosterneuburg
Wandarbeit Nr.16, Ausstellung/exhibition „Ob ich das sehe“, Heidelberger Kunstverein, Heidelberg
2006O.T., Installation aus zwei Teilen, Galerie im Taxispalais, Innsbruck
O.T., Raumarbeit mit Holzplatten, Holzteilen, Farbe, Galerie im Taxispalais, Innsbruck
Silo Barth, Barth Innenausbau, Brixen
Wandarbeit Nr. 10, TONSPUR_passage / quartier 21, MQ – Museumsquatier Wien, Wien
Antigravitation: Beweis Nr. 1, Intervention mit Johanna Kirsch, Elektro Gönner, Vienna
Dal punto di vista formale, la parete esiste solo come superficie, come delimitazione di corpo e spazio; per quanto, in linea di principio, una faccia della parete non sappia nulla dell’altra. (Feldtkeller), Raumarbeit, Galleria Contemporaneo, Mestre
Wandarbeit Nr. 11, Galleria Contemporaneo Mestre
Wandarbeit Nr. 12, Mumokka, MUMOK – Museum fĂŒr Moderne Kunst Wien
Wandarbeit Nr. 13, Centre d’Art de Neuchñtel
Wandarbeit Nr. 14, Centre d’Art de Neuchñtel
Wandarbeit Nr. 15, Centre d’Art de Neuchñtel
O.T., Installation aus vier Teilen, Ins Leere, Zacherlfabrik, Wien
2005“Was sind das fĂŒr Dinge, die wir voraussetzen? (Quine)”, Raumarbeit, Galerie Krobath Wimmer, Wien
O.T., Ausstellung Minoritengalerien Graz
O.T., Ausstellung Minoritengalerien Graz
O.T., Ausstellung Minoritengalerien Graz
O.T., Ausstellung MMK – Museum fĂŒr Moderne Kunst KĂ€rnten, Klagenfurt
Wandarbeit Nr. 8, wallstreet one, Berlin
O.T., Ausstellung/exhibition „Geometrisch betrachtetm, sind alle Richtungen im Raum gleichwertig“, Projektraum Deutscher KĂŒnstlerbund, Berlin
O.T., Intervention im Öffentlichen Raum, Wallensteinplatz, Wien
I am afraid I must refuse, project wall, Kunsthalle Wien
Wandarbeit Nr. 9, Outrageous Look, New York
2004Wandarbeit Nr. 7, loop Raum fĂŒr aktuelle Kunst, guestroom, Berlin
“Das Wort „gleichartig“ zieht unsere Aufmerksamkeit auf sich, und doch besagt es eigentlich gar nichts. (Frege)”, 2004, Ausstellung AR/GE Kunst Galerie Museum Bozen
O.T., Presselounge, Artforum Berlin 2004
2003Wandarbeit Nr. 3, Galerie Krobath Wimmer, Wien
Wandarbeit Nr. 4, 4 WEST 5 London
Wandarbeit Nr. 5, Galerie im Traklhaus, Salzburg
Wandarbeit Nr. 6, Mariahilferstrasse 4, Graz
2002Wandarbeit Nr. 2, Secession, Wien
2001Wandarbeit Nr. 1, Kunstsammlung Volpinum, Wien
2020Le prix Areélie Nemours 2020
2009Preis der Stadt Wien
2007SĂŒdtiroler Preis fĂŒr Kunst am Bau
2004Otto-Mauer-Preis
Förderpreis fĂŒr Bildende Kunst des BKA
2002Anton-Faistauer-Preis
Paul Flora Preis
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Selected Bibliography

2022Silvia Conta, “Ritorno alla razionalità’: Esther Stocker alla galleria 10 A.M. ART, Milano”, in: exibart, 24. 3. 22
Davide Landoni, “Ritorno alla razionalità. Esther Stocker in mostra a Milano”, in: Arts Life, 22. 3. 22
2020Dominik Pazeller, „Erstaunen, Entsetzen, Hoffnung“, in: Der Vinschger, 15. 12. 2020
2019„Esther Stocker / TamĂĄs Jovanovics – Entering the Mess. A dialogue about the messy side of Minimalism”, Hg. Esther Stocker, TamĂĄs Jovanovics, Raszternyomda Kft., Budapest 2019 (Kat.)
„Konkrete Gegenwart – Jetzt ist immer auch ein bisschen gestern und morgen“, Hg. Sabine Schaschl, Stiftung fĂŒr konstruktive, konkrete und konzeptuelle Kunst, Museum Haus Konstruktiv ZĂŒrich, Verlag fĂŒr moderne Kunst, Wien 2019 (Kat.)
 â€žEsther Stocker. Geometrisches GlĂŒck“, ed. Ulrike Schick, Museum gegenstandsfreier Kunst, Ottendorf, 2019 (Kat.)
2016Elena Esposito, „GegenwĂ€rtige Zukunft und zukĂŒnftige Gegenwarten, in: „ABSTRACT – SPATIAL. Malerei im Raum“, ed Verena Gamper, Kunsthalle Krems, Verlag fĂŒr moderne Kunst, Wien 2016 (Kat.)
2015„VerrĂŒckte Geometrie. Mad Geometry. Esther Stocker“, ed GĂŒnther Oberhollenzer, Esther Stocker, Kerber Verlag, Berlin 2015 (Kat.)
2014 “Zweifel an der Geraden”, ed Thomas HĂ€usle, Kunstraum Dornbirn
“Esther Stocker. Nothing Could Be Done – Men Were Only Men, And Space Was Their Eternal Enemy. (Ellison)” in: „DĆŻm uměnĂ­ ČeskĂ© Budějovice 2013–1998 / ČeskĂ© Budějovice House of Art 2013–1998,“ ed Terezie NekvindovĂĄ, Academy of Fine Arts in Prague, Academic Research Centre, with the cooperation of the ČeskĂ© Budějovice House of Art, Prague 2014
2013 Portrait of Disorder, ed Barbara Willert, Marli Hoppe, Ritter Museum, Waldenbuch
„Brian Franke | Esther Stocker. Im Grunde sind wir untröstlich.“, Hg. Edition Krobath bei Evolver Books, Altenburg 2013 (Kat.)
“Unlimited Space”, ed Gallery of Modern Art in Roudnice
Christa Benzer, „Esther Stocker: Modernistische KnĂ€uel. Die in Wien lebende italienische Malerin zeigt in der Galerie Krobath Wien eine neue Objektserie, die sie durch ZerknĂ€ueln in Form gebracht hat“, in: der Standard, 17. 4. 2013
2009Wiener Musterzimmer, ed. Agnes Husslein-Arco, Wien 2009 (Kat.)
Emmanuelle Lequeux, “Zero Budget Biennal”. In: Le Monde, 6. 9. 2009
“seeking constructive concrete structural 2”, ed. Open Structures Art Society, Budapest 2009 (cat.)
Charles Darwent,”Beyond These Walls, South London Gallery, London”, in: The Independent, 02.08.2009
Confines. Valencia 09. Pasajes de las Artes Contemporaneas, ed. IVAM Institut ValenciĂ  d’Art Modern, Valencia 2009 (Kat.)
Lea Mattarella, “Ai confini della creativitĂ . I limiti materiali e immateriali indagati in una mostra all’Ivam attraverso opere di Kiefer, Buren, Fontana & Co.”, in: La Stampa, 25. 5. 2009
Gregor Ziolkowski, “Grenzen schaffen Unterschiede. Ausstellung ,EntGrenzen’ in Valencia”, in: Deutschlandradio, 25. 5. 2009
Black is Back, in: Page, 07/2009
GET CONNECTED, ed. KĂŒnstlerhaus, Wien 2009 (Kat.)
synusi@blog casaluce geiger ::: guest ::: esther stocker, in: Drome magazine, N. 15/2009
Martin Herbert, “Sifting Defunct Modernity in Search of Something Useful”, in: Tate Etc., 15/2009
Microtate. Ewan Gibbs, Esther Stocker, Rachel Kneebone and Gavin Pretor-Pinney, in: Tate Etc., 15/2009
Die Macht des Ornaments, Hg. Agnes Husslein-Arco, Sabine B. Vogel, Belvedere Wien, Wien 2009 [Kat]
Susanne Barta, Esther Stocker, in: alpenrosen, Jahresschrift fĂŒr Frauenkultur, 2009
Louise Schouwenberg, Line Dancer, in: Frame Magazine, 67/2008
2008 Esther Stocker, geometrisch betrachtet, Hg. Museum Moderner Kunst Stiftung Ludwig Wien, Rainer Fuchs, Wien 2008 [Kat]
Ian Hunt, Sheffield 08: Yes, No and Other Options, in: Art Monthly April 2008
Andrew Hunt, Sheffield 08, in: Frieze Jan/Feb 2008
Adrian Searle, Clocking Off, in: Guardian G2, 26 02. 2008
Ian Soutar, Park hill in the limelight, in: Sheffield Telegraph, 15. 02. 2008
Esther Stocker exhibition, London, in: Wallpaper, 27. 06. 2008
The work of Esther Stocker, in: Designboom, 06/2008
Sally O’Reilly, Esther Stocker, in: Timeout, 31. 07. 2008
Heydon Prowse, The Art of Esther Stocker, in: Don’t panic, 12. 08. 2008
Elke Buhr, Schön. Sonst nichts? – Geometrisch, minimalistisch, cool, in: art, 08/2008
Michael Fembek, Kunstbarometer 2008. Junge KĂŒnstler im Blickpunkt, in: Gewinn, 9/2008
the truth of basics, resetting the history of living between four walls, Lift off 2008, Hg. Freek Lomme/Onomatopee, Eindhoven 2008 (Kat.)
Matylda, Esther Stocker: There it is, in black and white, in: matandme.net, 07. 11. 2008
Shonquis Moreno, Eleven Interiors from Dutch Design week, in: ID, 12. 11. 2008
Charles Darwent, Visual Art in 2008: How the Tate was given a good run for its money, in: The Independent, 28. 12. 2008
2007 Johan Holten, Ob ich das sehe, Hg. Heidelberger Kunstverein, Heidelberg 2007 [Kat]
Passion for Art. 35 Jahre Sammlung Essl, Hg. Essl Museum, Klosterneuburg 2007 [Kat]
Eva Gratl, „Silo Barth in Brixen“, in: turrisbabel 72/2007
Peter Zeillinger, „Die Auslegung gibt die Regel und nicht umgekehrt“, in: roadmap 07, Schönherr RechtsanwĂ€lte, Wien 2007
Patterns 2. Muster in Design, Kunst und Architektur, Hg. Barbara Glasner, Petra Schmidt, Ursula Schöndeling, Basel 2008
2006 Jens E. Sennewald, „Im blinden Fleck – zur Egozentrik des Raumes“, in: Transversale 2
Dieter Buchhart, „Der Raster als expansionsfĂ€higes und antihierarchisches System“, in: Kunstforum 182/2006
Nina Schedlmayr, „Junge Gilde“, in: profil 27/2006
Esther Stocker, Hg. Silvia Eiblmayr, Galerie im Taxispalais Innsbruck, Innsbruck 2006 [Kat]
Esther Stocker, Hg. Riccardo Caldura, Galleria Contemporaneo, Mestre 2007 [Kat]
opera austria. Frammenti di prospettive. L’arte nel cuore dell’ Europa, Hg. Christoph Bertsch, Silvia Höller, Stefano Pezzato, Centro per l’arte contemporanea Luigi Pecci, Prato 2006 (Kat.)
2005 22 interviews, Hg. Thomas Trummer, Atelier Augarten, Zentrum fĂŒr zeitgenössiche Kunst der Österreichischen Galerie Belvedere, Wien 2005 (Kat.)
Esther Stocker, Hg. Deutsche Bundesbank, Frankfurt a. M. 2005 (Kat.)
farb.rÀume, Hg. Andrea Madesta, Museum Moderner Kunst KÀrnten, Klagenfurt 2005 [Kat]
Sammlung Sigrid und Franz Wojda, Hg. Museum Moderner Kunst Stiftung Ludwig Wien, Wien 2005 [Kat]
Andrea Domesle, „Atelier Augarten, Zentrum fĂŒr zeitgenössiche Kunst/Österreichische Galerie Belvedere: Das Neue 2“, in: www.artmagazine.cc (21. 06. 2005)
Henriette Horny, „Strenge Skulptur fĂŒr großes Engagement“, in: Die Presse, 20. 09. 2005
Christian Schwazer, „Malerei als Denkwerkzeug“, in: Tageszeitung, 2005
2004 ABSTRACTION NOW, Hg. Sandro Droschl et. al., KĂŒnstlerhaus Wien, Graz 2004 [Kat]
“Biennale Europea Arti Visive La Spezia. Premio del Golfo 2004″, ed. Bruno Cora`/CAMEC Centro di Arte Moderna e Contemporanea, 2004 (Kat.)
Martin Prinzhorn, „Der Schein der Klarheit“, in: Parnass 4/2004
Martin Hanni, „Ich brauche die ungeordnete Ordnung“, in: Tageszeitung, 25. 06. 2004
Anny Ballardini, „Esther Stocker“, in: www.exibart.com (06. 08. 2004)
Almuth Spiegler, „Schwarzweiss ist eine Farbe“, in: Die Presse, 30. 11. 2004
Rainer Metzger, „Karlsplatz: Handlungsanweisungen. Performativer Widerspruch“, in: www.artmagazine.cc (01. 09. 2004)
Susanna Loof, „An interactive experience in a Wien square“, in: The Hindu International, 02. 10. 2004
2003 Einbildung. Das Wahrnehmen in der Kunst, Hg. Peter Pakesch, Kunsthaus Graz, Köln / Cologne 2003 (Kat.)
Panorama 03, Hg. Marion Piffer Damiani und / and Letizia Ragaglia, Wien, Bozen, 2003 [Kat]
KĂŒnstlerinnen – Positionen 1945 bis heute, Hg. Freunde der Kunstmeile Krems, Kunsthalle Krems, Krems 2003 (Kat.)
Nicole Scheyerer, „Rechtecke, gewellt“, in: Falter 18/2003
Johanna Hofleitner, „Krobath Wimmer: Klebeband“, in: Die Presse, 24. 04. 2003
Isabella Marboe, „Variationen im Raster“, www.artmagazine.cc (07. 04. 2003)
Klaus Putzer, „BildermĂ€rchen, Rechtecke, Raster“, in: FF SĂŒdtiroler Wochenmagazin, 2003
2002 Hier ist dort 2, Hg. Secession, Wien, 2002 (Kat.)
Variable StĂŒcke. Strukturen. Referenzen. Algorithmen, Hg. Silvia Eiblmayr, Galerie im Taxispalais Innsbruck, Wien 2002 (Kat.)
Esther Stocker. Malerei/Painting/Pittura 1997-2002, Hg. Galerie Krobath Wimmer, Wien 2002 (Kat.)
2001Andrea Winklbauer, „Esther Stocker. Einfach komplex“, artmagazine, 2001
Johanna Hofleitner, „Ausgestellt in Wien“, Die Presse, 2001
Florian Steininger, „Esther Stocker – Malerei“, Pressetext, 2001
Martin Prinzhorn, „Verstörtes Äusseres“, Pressetext, 2001
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