“In case of boredom, recite the ABC more often”
Vito Baumüller . Julie Bender Herdina . Gabi Blum . Leona Boltes . Felix Burger . Böhler & Orendt . Brad Downey . Anne Duk HeeJordan . Christian Eisenberger . Moritz Frei . Frankfurter Hauptschule . Andrew Gilbert . Veronika Günther . Leon Höllhumer . Claudia Holzinger/Lilly Urbat . Christian Jankowski . Anna Ley . Hoa Luong . Patricia Martsch . Anna McCarthy . Monika Michalko . Jannik Richard . Stefanie Sargnagel . Kristina Schmidt . Sophia Süßmilch . Veli & Amos . Valentin Wagner . Marcel Walldorf . Nouchka Wolf . Thomas Zipp
In this year’s edition of the gallery festival curated by 2021, SPATZI SPEZIAL (Sophia Süßmilch and Valentin Wagner) will be curating an exhibition entitled “In case of boredom, recite the ABC more often”, embedding the festival’s theme “Comedy” into an artificial order. The decisive factor here is not the topic, chronology, quantities or the context of the works, but our alphabet with its artificial order of a finite number of objects. Alpha and omega. The duo SPATZI SPEZIAL thus subvert the current forms of exhibition as well as reception. With this act of refusal, they merely seem to elude a certain discourse, just pretending not to play along – and they fail miserably.
The original idea for this project is from Sophia Süßmilch’s video from 2011 entitled “In case of boredom, recite the ABC more often”, where the artist appears before the camera wearing a bee costume in Coney Island, New York, languidly reciting the ABC. When she is finished, she adds dryly: “Well, nothing much going on here” and leaves the picture.
Well, we’re curious to see what will be going on at curated by 2021. If it’s boring, we can all just go home.
The exhibition also extends into the small room at the back of the gallery. The room will be turned into a chamber of horrors as the artists dabble in a classic genre, namely clown portraits.
The works by the participating artists move between cheerfulness and gloom and enjoy revealing the abysses of the human soul. For this exhibition, SPATZI SPEZIAL have invited artists who inspired them in their own works, including some well-known names, but also some hot new discoveries from the duo’s milieu.
Saturday, September 4, 2021 at 5pm
“ULK-KULT MIT PATZI UND FELIX: DAS GRENZÜBERSCHREITENDE KULTSTÜCK”
A Performance by and with Patricia Martsch and Felix Maria Zeppenfeld, with a figure by Anna Pelz.
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
Galerie Krobath is pleased to host its first solo exhibition of Gerwald Rockenschaub (*1952 in Linz, lives and works in Berlin). Under the title “astrobot(n)ic / philanthropic / this/that interlude (vision)” Rockenschaub presents pieces created especially for this exhibition, which oscillate between abstraction and representationalism and are a direct reflection of the artist’s continuing perceptual-psychological exploration. On the one hand, there are large-format composite pieces made of Plexiglas in which different elements are pieced together into a single motif so seamlessly, that the individual layers are only apparent upon closer inspection. The question of what one is actually looking at is also thematized in his new group of engravings, which comprise some of Rockenschaub’s most subtle work. At first glance, they appear to be monochrome Plexiglas pieces, the surfaces of which reflect the surrounding space. However, when viewed from a different angle, finely engraved drawings emerge, sparking strings of associations.
The images we see, or think we see in the engravings, change depending on our viewpoint and the way the light hits them. They could be interpreted as a political message, as a kind of challenge to constantly change our point of view. But perhaps another interpretation can be gleaned by the title “astrobot(n)ic / philanthropic / this/that interlude (vision)”. It hits us like sound poetry. The words, not unlike the minimalistic lines of the engravings, invoke countless associations with reality. Due to the rhythmic emphasis, one could easily imagine the cryptic slogan as a rapped refrain in a piece of electronic club music. That would make Rockenschaub’s new engravings something like visual music or musical visions that set us in motion – and maybe even get us dancing in the end.
Caroline Corleone | Theresa Eipeldauer | Anna Meyer | Muntean/Rosenblum | Haleh Redjaian | Esther Stocker | Katja Strunz | Sofie Thorsen | Jenni Tischer
Born in Erlangen, G. Lives and works in Berlin, G.
Caroline Corleone’s art touches on the fundamental painting movements of the past decades as abstract expressionism or color field painting. However, being on the pulse of time, she often finds inspiration
in post-media strategies of copying and digital montage. She likes to use fabrics, plays wildly with pat- terns, or „paints“ with her sewing machine on canvas. Her artworks draw the bow between the real, the digital, and the painted: Artificial forms of imitated nature meet urban interventions, abstract brush- strokes cross fragments and leftovers of repetitive digital patterns.
The new series of works is inspired by the textile designer Mathilde Flögl (Wiener Werkstätte). The more or less random shapes of Flögl’s textile cuts from the MAK archive (on-site research in February 2019) are the starting point for new compositions, enhanced with graphic “drawings” by sewing machine. The pattern series PPI * finds a continuation in the Flögl series, in that given patterns find form as fragmentary substitutes in blow ups as independent artistic works.
Born 1985 in Vienna, A. Lives and works in Vienna, A
The point of departure for Jenni Tischer’s latest exhibition fortune at the Krobath Gallery was two different kinds of found objects: on the one hand, there are numerous vintage knitting needles, which the artist purchased at a warehouse sale and then turned each one of them into artfully knitted sculptures and wall objects.
The basic element in Eipeldauer’s drawings is the line, which is constantly multiplied thus preempting industrialprocesses. Reproduction techniques used since the 20th century are very present in her works. Eipeldauer also treats the transition from the individual art piece to environment in her works playfully and with artful ease. The urge to define her three-dimensional works either as an ensemble or as individual works of art automatically recedes towards the background and the decision is left to the viewers. As Heike Maier-Rieper aptly puts it, the transition from two-dimensional to three-dimensional works results in “an ambivalence between transparency and disguise”. From: Heike Maier-Rieper. “Theresa Eipeldauer.” in: 95-2015 Jubilee evn collection. Wien: Verlag für moderne Kunst, 2015.
Born 1964 in Schaffhausen, CH. Lives and works in Vienna, A.
In her works (paintings, drawings, models, interventions in public spaces) Anna Meyer addresses modern global culture and the socio-political and feminist issues of neoliberal societies in an ironic and provocative manner.
„In the past few years, in the face of neo-liberal globalisation and the increasingly manifest climate catastrophe, painting in particular has presented itself as an aesthetic titbit, or as “a fetish and a pointless gimmick for those who would ignore the impending flood,” as the philosopher Theodor W. Adorno put it. But Anna Meyer’s paintings have never been part of this game. On the contrary, her socio-critical reflections always go hand in hand with her visual motifs and their formal implementation”. From: Raimer Stange „Nostalgia for an age yet to come“.
The current drawings in the exhibition were created in the first phase of the Corona lockdown in March 2020 and thus establish a very current reference to time.
Josef Bauer | Hertha Hurnaus | Fritz Panzer | Sofie Thorsen
1934 born in Wels (A), Lives and works in Linz and Gunskirchen (A).
Since the 1950s, some artists – including Josef Bauer – turned to language in order to break the mold in sculpture. Like many of his contemporaries, Bauer was searching for an artistic vocabulary that would make it possible to comprehend the world again. A world that was facing huge upheavals and reforms after the end of the Second World War. A world ‘in crisis’ presents artists, in particular, with great challenges and the question of which stories can be told when lived history goes far beyond the limits of the imagination. A world that has fallen apart must be put back together again or its stories told on a different level.
Bauer’s work was influenced by media and information theories of the 1960s. “
“At the beginning of the sixties, I was interested in the body in space, and I focused on the area between the body and its surroundings.” Josef Bauer.
When Bauer set off to appropriate the world on a new, abstract level, writing became increasingly important to him in formulating his ‘Picture Languages’. From: Harald Krejci „Explorations, 2019.
1951 born in Linz (A). Lives and works in Vienna (A).
The photographs of Hertha Hurnaus are dedicated to the works of the architect Vladimir Dedeček, which were built between 1960 and the fall of the Iron Curtain in 1989. The photos, however, are not documentary in nature, but rather an homage to an era of change in the field of architecture. As the images focus on interiors and details, the buildings are only recognisable to experts. They emphasise the common features of these structures: colour compositions that are reminiscent of abstract works of art. Located barely an hour’s drive from Vienna, these buildings are not unlike spaceships that have just returned to earth from an optimistic future. From: Oliver Elser „Hertha Hurnaus“, 2015.
1945 born in Judenburg (A). Lives and works in Vienna (A).
According to Wikipedia this technique was first used in China 2000 years ago. A wooden frame and human hair for mesh were used to make the screen and leaves were used for stencils. This is probably how the very first screen prints were made.
Applying colour through a screen of fabric. That’s how I would describe the technique I used to create these works. I don’t want to use the term “screen printing”, as reproduction was never my intention. These works are unique.
Screen printing is a very efficient method to apply multiple layers of colour. Here it was done in the simplest possible manner: I used one of my mother’s curtains as mesh to make the screen, the stencils were made of pieces of newspaper and the colour pigments were mixed with hide glue. Fritz Panzer, 2021.
1971 born in Aarhus (D). Lives and works in Vienna (A).
The engraved drawings relate to the colour and shape of the stone. The thin line is in the foreground thus lending the surface of the stone a three-dimensional quality, which was less perceptible before.
The stones themselves are random found pieces, leftovers of masonry and construction work. Fragments of an entity which will never become whole again. Sofie Thosen, 2021.
The exhibition at the Pinakothek der Moderne, München presents the objects related to Bauhaus in the collection of the Museum on the occasion of the anniversary of the founding of Bauhaus. As one of five contemporary artists, Sofie Thorsen was invited to examine Bauhaus works from the museum collection. Her construction elements, large-format raw wire models, refer to 8 small objects by the artist and architect Herrmann Finsterlin, the Didyms, where Didym stands for twin or double. Partly toys, partly geometrical models, partly prototypes, these colorful combinations of simple shapes deny any clear definition, but they could have been intended as a prototype of a construction game.
Elisa Alberti | Michael Bauch | Theresa Eipeldauer | Sebastian Koch | Fritz Panzer
1992 geboren in Kiel (D), aufgewachsen in Bruneck (IT). Lebt und arbeitet in Wien, (A).
1951 geboren in Hamburg (D). Lebt und arbeitet in Hamburg (D).
1985 geboren in Wien (A). Lebt und arbeitet in Wien, A.
1986 geboren in Vorarlberg (A). Lebt und arbeitet in Wien, (A).
1945 geboren in Judenburg (A). Lebt und arbeitet in Wien, (A).
The possibilities that simple forms provide
On the cosmos of Elisa Alberti’s abstract painting
Elisa Alberti is quoted as saying “my paintings convey a specific situation”. The Viennese artist with both German and Italian roots realises works in which simple geometrical shapes and gentle monochrome surfaces abound. Within a few years, Alberti has developed an individual and recognisable style of her own: a reduced, minimal repertoire of shapes combined with harmonious colours and curved, softly rounded forms. She stringently repeats elements from painting to painting in both acrylics and enamel paint on either canvas or wood; often large format pieces, but sometimes also smaller pieces, in series of works. Alberti also realises extensive spatial installations as a dialogue between two- and three-dimensionality in an experimental, well thought through manner.
Elisa Alberti uses clearly defined and intuitively implemented conglomerations of colours and shapes that she constantly varies and adapts. She applies complex, multi-layered sequences on each work’s surface. Brushstrokes are not visible, but the structure of the canvas itself shines through layers of paint (not the case on the smoother surface of a wooden panel though, where the forms looks even more coherent). This approach allows colourfully-nuanced shapes to stand apart as understated, intermediate tones. Nearly transparent layering and individual painted paths overlap gradually, creating subtle contrasts between lighter and darker shades. She mixes fresh paint for each work, making precise repetition of colours impossible. These works are of soft and understated colours, and yet more intense in their delicacy: light blue, a shade of ochre and sand glazed with white as if covered by a veil. Time and again, deep black, impure white and warm shades of grey appear. The artist paints flat curvy shapes that relate to each other; each painting also refers to previous or her next work. Variations and differences are crucial to how a motif comes about; how is it possible to realise a new composition through minimal variations and shifts such as changed shapes or highlights on a certain colour? That’s why Alberti’s groups of works might seem like a series, although each individual piece also stands for itself.
In addition to surfaces and layers, the materiality and volume of the paintings, their relationship to their surrounding space t is also significant. Most of these artworks focus on the painted surface and are realised by applying layer upon layer of paint, which provides them with three-dimensionality. In the small wooden pieces, the artist also applies paint to the sides so that the artwork appears to be more of an object; this is highlighted, in exhibitions, by presenting sets of paintings that enter into a dialogue with each other. Often, Alberti arranges her work into systematic wall or spatial installations. This results in compositions that take up space and spaces which present paintings. The painted walls where the arrangement of the paintings has been most precisely dictated and the painted objects in the space venture beyond the canvas’ or wood’s surface pointing out how each single painting is merely a glimpse of an artistic universe. The edges of the canvas are not where paintings end. Only a limited version of the unboundedly continuous nature of paintings can be represented because the human possibilities are limited.