EXTERN / JENNI TISCHER Artist Talk for the exhibition "SCHINDLER HOUSE LOS ANGELES. RAUM ALS MEDIUM DER KUNST", MAK

ARTIST TALK in context of the exhibition SCHINDLER HOUSE LOS ANGELES: SPACE AS A MEDIUM OF ART live from the MAK Columned Main Hall with Andreas Fogarasi, Dorit Margreiter, Maruša Sagadin, Jenni Tischer; Moderation: Bärbel Vischer.

Exhibition dates: 30.03 – 31.07 2022.

SPARK Art Fair 2022
Elisa Alberti | Sofie Thorsen | Anna Meyer

March 24 – 27, 2022

ELISA ALBERTI
Booth D02

SOFIE THORSEN
Booth B09
(THE FOURTH WALL: SYNTHESIS OF THE ARTS curated by Fiona Liewehr)

ANNA MEYER

UPCOMING FAIRS 2022

—

ART DÜSSELDORF / 08-10 Apr 2022

Elisa Alberti

Theresa Eipeldauer

Sebastian Koch

Josef Bauer / 1934 - 2022

We mourn Josef Bauer. His wit and fantasy will be missed.

ARCO MADRID 2022
23.09. - 27.09.2022 Booth 7C17

With their booth concept for the ARCO, Gallery Krobath creates a convincing and compelling exhibition setting, where various artistic positions and different generations enter into an intriguing dialogue with one another. The common theme is a reduced

and yet powerful visual language that produces a harmonious entity, despite all the differences. The paintings presented here are somewhere between the poles of self-reference and non- representational reality, but they also question their own nature, use digital techniques and push the boundaries of the second dimension. Elegant surfaces meet playful lines (Elsa Alberti, Sebastian Koch), clean, geometrical forms meet schematic figurations (Gerwald Rockenschaub, Julian Opie), complex grid patterns in black and white meet multi-coloured circles and sculptures (Esther Stocker, Ugo Rondinone).

Elisa Alberti‘s paintings depict simple geometric forms and mellow monochrome fields. With stylistic confidence, she creates rectangular forms with smooth curves and almost transparent layers of paint. Sebastian Koch’s work, too, is a mixture of a very individual style and distant artistic form. The dainty, entwined lines indicate a confident mind, and yet remain vague and ambiguous. The lines are set on a monochrome background both in a clear and playful manner.

Gerwald Rockenschaub was a member of the Neo-Geo movement in the 1980s that set strict geometric forms in multi-coloured fields against expressive painting. Using a special software, he creates abstract forms on his computer, which are printed on coloured foils and laminated on aluminium plates. As industrially produced paintings, these artworks reduce the artist’s handwriting to a minimum. Julian Opie, too, uses digital means to create highly stylised, but figurative images. In his unique manner, he combines minimalist and Pop Art with a contemporary visual language, thus creating pictogram-like portraits or (animal) figures with broad outlines and abstract landscapes consisting of various colour fields.

Esther Stocker’s artistic world consists of very few geometric basic forms. The deconstruction of the seemingly exact form serves as the starting point for her black- and-white paintings. The artist creates manifold variations of slightly offset grid and arrangement systems. She sometimes takes them to the third dimension and forms fascinating objects by wrinkling or folding the geometrical black-and-white patterns. Ugo Rondinone explores the boundaries of painting as a medium and our perception

of it through concentrically arranged circles with vibrating colour combinations or colourful, highly artificial installations. His mountain sculptures painted in fluorescent colours symbolize his constant interest in natural phenomena and their physical and aesthetical interpretation.

Günther Oberhollenzer
Curator State Gallery of Lower Austria

EXTERN / Sofie Thorsen

Funen Art Academy
Jernbanegade 13, 5000 Odense

November 25, 2021 – January 23, 2022

The Most Beautiful Acquisitions

Scrolls of paper, plaster replicas of flint axes and clay imprints are spread across slim brass structures in the Sculpture Hall at Funen Art Academy. The room that once housed Odense City Museum’s sculpture collection now contains an assemblage of objects that defy usual expectations for museum artefacts. They are not originals, but copies and traces, and they do not adhere to the limits of the structures in which they are presented. Similarly, the exhibition cases are nothing more than rudimentary boxes which neither protect nor display the objects they hold.

Funen Art Academy is today located in the former premises of Odense City Museum. The museum’s very first collections consisted largely of ancient artefacts, and several of the individuals who founded the museum in 1860 were passionate about Denmark’s prehistory. These archaeological collections were also the last to be moved out of the building in 1989, before it was converted into an art museum and later, an art academy.

In the 1990s, the Museum embarked on an enormous project: the digitalisation of the countless objects listed in its acquisition records from 1860 to 1972. These thousands of objects are now available to the public online, in a series of albums on Flickr. Acquisitions from Protocol 2, which spans the years during which the museum was built, form the basis for visual artist Sofie Thorsen’s installation in the Sculpture Hall.

The contours of clay pots, stone axes, arrowheads and jewellery are the starting point for the installation’s numerous paper objects and frottages. The original objects are not visible in the exhibition, still stored in the museum’s depot or exhibited at Møntergården, but traces of them have returned to the building as temporary, and not particularly durable flat documents, three-dimensional only because the papers are rolled up.

Although the installation presents elements of a specific collection from a specific point in time in the history of Odense City Museums, it is, in fact, more about the history of the building as an exhibition space and the practice of exhibiting objects in the Sculpture Hall and in the spaces created by the brass structures. It is about plaster replicas and imprints, about giving temporary body to digital photos. It is also about the interplay between visible, accessible images and inaccessible, untouchable artefacts in a museum collection. About how an object can be miraculously preserved for thousands of years underground in a bog or a field and then discovered, only to disappear once again in a storeroom or archive, until every once in a while, someone comes along and holds it in their hand.