{"id":311,"date":"2021-04-15T21:11:14","date_gmt":"2021-04-15T21:11:14","guid":{"rendered":"https:\/\/neu.galeriekrobath.at\/ausstellungen\/"},"modified":"2021-04-21T20:34:29","modified_gmt":"2021-04-21T20:34:29","slug":"exhibitions","status":"publish","type":"page","link":"https:\/\/www.galeriekrobath.at\/en\/exhibitions\/","title":{"rendered":"Exhibitions"},"content":{"rendered":"\n
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our love (illusio) is everything that\u00a0the waterfall is (doxa)\u00a0curated by Christian Egger<\/h1>\n

11.09.\u201417.10.2026<\/h2>\n <\/div>\n
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\n Curatedby26 LOVE<\/strong>
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About the exhibition<\/h1>\n\n

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Bruce LaBruce . Herbert De Colle .\u00a0Crisfor . Carola Dertnig . Michaela Eichwald . Labrilena\u00a0Konstantelou . Georgie Nettell . Rade Petrasevic . Amol K Patil .\u00a0Gerwald Rockenschaub . Giorgos Tigkas . Jenni Tischer . Sue\u00a0Tompkins . B. Wurtz<\/p>\n\n\n\n

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our love (illusio) is everything that the waterfall is (doxa)<\/strong><\/p>\n\n\n\n


First, to briefly explain the quotes in the title: The underlying structure stems from the German band Eisenvater and their song Uns\u2019re Liebe <\/em>(Our Love). One line goes, \u201cOur love is like a waterfall.\u201d1).  I found this allegory \u2013 a powerful, mighty source of endlessly cascading, cooling, clear, refreshing water amidst the increasing drought and parchedness brought on by the global climate crisis, coming from a band in a genre (heavy metal) whose audience is known for maximum, unconditional loyalty \u2013 useful for the curatorial thinking behind this exhibition. The phrase \u201ceverything that the waterfall is\u201d is  a deliberately clunky allusion to the opening sentence of Ludwig Wittgenstein\u2019s (1889\u20131951) Tractatus Logico-Philosophicus<\/em>. These two components are, in turn, framed by two concepts from sociologist Pierre Bourdieu (1930\u20132002): illusio<\/em> and doxa<\/em> (Ancient Greek: d\u00f3xa<\/em>, meaning \u201copinion\u201d). Illusio<\/em> describes the mechanism by which social groups \u2013 or classes and individuals \u2013 deceive themselves and are deceived regarding society\u2019s actual power structures, thereby unconsciously contributing to the reproduction of the prevailing order. Doxa<\/em>, meanwhile, covers beliefs and opinions taken to be real or true without ever questioning them. Transposed onto this year\u2019s theme of curated by<\/em>, \u201cOur Love\u201d<\/em> emerges as a conviction and an assumption that is taken for granted, one that simultaneously contributes unconsciously to the ongoing reproduction of concepts of love. Trying to widen and open up the concept of love, and led by a certain over-fixation, I stumbled at the outset of my preparations from associative memories of Kim Casali\u2019s (1941\u20131997) comic strip Love Is\u2026<\/em> and its bywords on twosomeness to Martin Kippenberger\u2019s (1953\u20131997) series of canvas paintings bearing the I-LOVE-\u2026 stickers that could be ordered and personalized through the newspaper Kurier<\/em>, and finally to a present-day little treat: the vegan LOVE gummies of the Katjes Wunderland Rainbow Edition. Things became more serious and concrete with my exploration of the photographic phenomenon of double exposure, where individual exposures blur into one another to capture multiple layers of reality, including objects of one\u2019s affection, more holistically. I was equally drawn to the hubris of translating gestures of intimate physicality into sculpture at a 1:1 scale, and to paying personal homage to my own encounters with works I had grown to love \u2013 B. Wurtz, for one. Once, while setting up an exhibition, I was rifling through the shipping crate in disbelief, looking for the contents, for the work itself, until I finally made out the artist\u2019s fragile sculptures, scarcely distinguishable from the safety packaging \u2013 after seriously wondering, moments before, where what I had come to love so much could possibly be hiding. And so this exhibition itself is, throughout, permeated with such searches for proof and manifestation of the theme \u2013 and with false energy too: eternal promises, and a before, a midst, and an after of an ALMOST LOVE<\/em>! Doubts about affection, as well, and the repeated question of how destructive or bewildering relationships come to be falsely labelled as care or passion, and yet are still held to be true. It asks whether, when we experience something in everyday life, we go on longing to experience it as art \u2013 and if so, where art\u2019s symbolic advantage in this might reside? It asks how all the contradictions and misunderstandings, the conditions and conceptions of ecstasy and rapture, the most varied combinations of cause and effect in love \u2013 or indeed illusio<\/em> and doxa<\/em> \u2013 might escape the peculiar thrill of the why and the how, if only to record and exhibit their lack, their insufficiency, and the disappointment that an exhibition which betrays our feelings leaves behind in us. Because the more we look for love and find it, the more it becomes a fetish \u2013 and the more it becomes a fetish, the less accessible it is. And yet, since time immemorial, everything has moved in one direction alone: towards where LOVE is.<\/p>\n\n\n\n

1) “Uns’re Liebe” is the third track on the album *Eisenvater III* by the German band Eisenvater, released in 1995. https:\/\/www.youtube.com\/watch?v=vuYju_xv5cA&list=RDvuYju_xv5cA&start_radio=1<\/p>\n\n\n\n

Christian Egger lives in Vienna as a visual artist, musician, and freelance writer. He is co-editor of the artist fanzine www.ztscrpt.net. Recent solo exhibitions of his work have been shown in Vienna at 20 20 and Charim Schleifm\u00fchlgasse, as well as at The Horse (Dublin) and Kunstraum Schwaz. In addition to numerous exhibition publications, his texts are regularly published in international art magazines such as ArtReview, Texte zur Kunst, SPIKE, Springerin, Camera Austria, and many others.   His book *Shows, Signals, Unvernehmen*, a collection of texts from 2005 to 2020, was published by Floating Opera Press (Berlin).

Translated by Lian Rangkuty<\/p>\n\n\n\n

Readings \/ Talks<\/strong><\/p>\n\n\n\n

\u201cOur love (illusio) is everything that the waterfall is (doxa)<\/em>\u201d is accompanied by a series of five talks exploring the theme of LOVE<\/strong> through a range of literary, theoretical, and performative approaches and questions.<\/p>\n\n\n\n

SAT 19 September \u00b7 13:00<\/strong>
Miriam Stoney \u2014 \u201cMaking Love\u201d<\/strong><\/p>\n\n\n\n

Miriam Stoney (*1994, Scunthorpe, UK) is a writer, translator, and artist based in Vienna.<\/p>\n\n\n\n

SAT 26 September \u00b7 13:00<\/strong>
Christian Egger \u2014 \u201cThe Genesis of the Love Song (from the \u2018Love Song for Shu-Sin\u2019 (c. 2000 BC) to Wendy Eisenberg\u2019s \u2018Little Love Songs\u2019 (2021))\u201d<\/strong><\/p>\n\n\n\n

Christian Egger lives and works in Vienna as a visual artist, musician, and independent writer. He is co-editor of the artists\u2019 fanzine www.ztscrpt.net<\/a>.<\/p>\n\n\n\n

SAT 3 October \u00b7 13:00<\/strong>
Anke Dyes \u2014 \u201cMultiple Minds One Body \u2013 Love and Identity as Metadata\u201d<\/strong><\/p>\n\n\n\n

Anke Dyes is an artist and writer based in Berlin. She currently holds a professorship in \u201cWriting and Research\u201d at the Academy of Fine Arts Munich. Her book Multiple Minds One Body. Liebe und Identit\u00e4t als Metadaten<\/em> was recently published by transcript.<\/p>\n\n\n\n

SAT 10 October \u00b7 13:00<\/strong>
Jackie Grassmann \u2014 \u201cOn the Misappropriation of Love\u201d<\/strong><\/p>\n\n\n\n

Jackie Grassmann is an artist, writer, and facilitator. Her work, which takes texts as its point of departure, manifests itself in readings, performances, installations, and printed matter. Her practice is based on a dialogical understanding of authorship that distances itself from the cult of genius; consequently, many of her works emerge through structured or informal collaborations.<\/p>\n\n\n\n

SAT 17 October \u00b7 13:00<\/strong>
Cordula Daus \u2014 \u201cSehr\u201d<\/strong><\/p>\n\n\n\n

Cordula Daus (*1974) lives and works in Vienna and Berlin. Her texts, audio works, and performances revolve around language and the body. From 2020 to 2026, she held an Elise Richter PEEK Fellowship at the University of Applied Arts Vienna for the FWF-funded artistic research project outerwoman<\/em>.<\/p>\n\n\n\n

Her novel Sehr<\/em> was published by Ritter Verlag in 2024.
corduladaus.com<\/a><\/p>\n\n\n\n

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Further informations:<\/p>\n

\n Biography<\/a>, Exhibitions<\/a>, Works<\/a>\n <\/p>\n <\/div>\n <\/section>\n\n\n \n\n\n\n

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\n The Shadow of Lustre VIII, 2024<\/strong>
Amol K Patil
\nBronze
\n50 x 35 cm
\nEd 1\/2 (+1 AP)
\nCourtesy of the artist and Galerie Peter Kilchmann, Zurich,Paris\">\n \n <\/a>\n
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The Shadow of Lustre VIII, 2024<\/p>\n

Amol K Patil
\nBronze
\n50 x 35 cm
\nEd 1\/2 (+1 AP)
\nCourtesy of the artist and Galerie Peter Kilchmann, Zurich,Paris<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n Bunch #4, 1996<\/strong>
B. Wurtz
\nMetal, wood, wire, enamel paint, plastic bags
\nca. 250 cm
\nPhoto Jan Hecl
\nCourtesy of the artist and Gregor Podnar Vienna\">\n \n <\/a>\n
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Bunch #4, 1996<\/p>\n

B. Wurtz
\nMetal, wood, wire, enamel paint, plastic bags
\nca. 250 cm
\nPhoto Jan Hecl
\nCourtesy of the artist and Gregor Podnar Vienna<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n Tony and Wynonny, 1995<\/strong>
Bruce LaBruce
\nC-Print, framed
\n45,72 x 35,56 cm
\nEd 2\/3
\nCourtesy of the artist and Bonny Poon, Toronto\">\n \n <\/a>\n
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Tony and Wynonny, 1995<\/p>\n

Bruce LaBruce
\nC-Print, framed
\n45,72 x 35,56 cm
\nEd 2\/3
\nCourtesy of the artist and Bonny Poon, Toronto<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n capriccio XXIII.8, 2017<\/strong>
Crisfor
\nAnalog double exposure, Museum Etching, mounted on Dibond
\n43.2 x 30.9 cm
\nCourtesy of the artist\">\n \n <\/a>\n
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capriccio XXIII.8, 2017<\/p>\n

Crisfor
\nAnalog double exposure, Museum Etching, mounted on Dibond
\n43.2 x 30.9 cm
\nCourtesy of the artist<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n Capriccio XXX 4, 2017<\/strong>
Crisfor
\nAnalog double exposure, Museum Etching, mounted on Dibond
\n30.9 x 43.2 cm
\nCourtesy of the artist\">\n \n <\/a>\n
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Capriccio XXX 4, 2017<\/p>\n

Crisfor
\nAnalog double exposure, Museum Etching, mounted on Dibond
\n30.9 x 43.2 cm
\nCourtesy of the artist<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n M\/y Cari\u00f1o IV, 2026<\/strong>
Giorgos Tigkas
\nC-Print, aluminium, glass, plywood
\n13 x 43 x 1 cm
\nCourtesy of the artist and Radio Ath\u00e8nes\">\n \n <\/a>\n
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M\/y Cari\u00f1o IV, 2026<\/p>\n

Giorgos Tigkas
\nC-Print, aluminium, glass, plywood
\n13 x 43 x 1 cm
\nCourtesy of the artist and Radio Ath\u00e8nes<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n M\/y Cari\u00f1o III, 2026<\/strong>
Giorgos Tigkas
\nC-Print, aluminium, glass, plywood
\n13 x 43 x 1 cm
\nCourtesy of the artist and Radio Ath\u00e8nes\">\n \n <\/a>\n
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M\/y Cari\u00f1o III, 2026<\/p>\n

Giorgos Tigkas
\nC-Print, aluminium, glass, plywood
\n13 x 43 x 1 cm
\nCourtesy of the artist and Radio Ath\u00e8nes<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n ALMOST, 2026<\/strong>
Herbert De Colle
\nsliced print
\n40 x 30 cm
\nCourtesy of the artist\">\n \n <\/a>\n
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ALMOST, 2026<\/p>\n

Herbert De Colle
\nsliced print
\n40 x 30 cm
\nCourtesy of the artist<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n LOVE, 2025<\/strong>
Herbert De Colle
\nsliced print
\n40 x 30 cm
\nCourtesy of the artist\">\n \n <\/a>\n
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LOVE, 2025<\/p>\n

Herbert De Colle
\nsliced print
\n40 x 30 cm
\nCourtesy of the artist<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n Unlike Are We, Unlike (They Call It Love), 2026<\/strong>
Jenni Tischer
\nplexiglass, aluminium, paper, cactus leather, metal rings, string
\n90 x 55 x 30 cm
\nCourtesy of the artist and Krobath Wien\">\n \n <\/a>\n
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Unlike Are We, Unlike (They Call It Love), 2026<\/p>\n

Jenni Tischer
\nplexiglass, aluminium, paper, cactus leather, metal rings, string
\n90 x 55 x 30 cm
\nCourtesy of the artist and Krobath Wien<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n WHEN IN ROME, 2026<\/strong>
Rade Petrasevic
\nacrylic on canvas
\n30 x 40 cm
\nCourtesy of the artist\">\n \n <\/a>\n
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WHEN IN ROME, 2026<\/p>\n

Rade Petrasevic
\nacrylic on canvas
\n30 x 40 cm
\nCourtesy of the artist<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n

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\n Wuchtige Absch\u00fcsse von Brillant-Bombetten, Knatter-Wolken und Palmstern-Buketten, 2018<\/strong>
Michaela Eichwald
\nFirework battery, polyurethane foam, chrome lacquer, plastic and spray paint
\n133 x 31 x 31 cm
\nCourtesy of the artist and Galerie Isabella Bortolozzi\">\n \n <\/a>\n
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Wuchtige Absch\u00fcsse von Brillant-Bombetten, Knatter-Wolken und Palmstern-Buketten, 2018<\/p>\n

Michaela Eichwald
\nFirework battery, polyurethane foam, chrome lacquer, plastic and spray paint
\n133 x 31 x 31 cm
\nCourtesy of the artist and Galerie Isabella Bortolozzi<\/p>\n <\/div>\n <\/figure>\n <\/div>\n\n\n <\/section>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"t-special.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-311","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/pages\/311","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/comments?post=311"}],"version-history":[{"count":1,"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/pages\/311\/revisions"}],"predecessor-version":[{"id":312,"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/pages\/311\/revisions\/312"}],"wp:attachment":[{"href":"https:\/\/www.galeriekrobath.at\/en\/wp-json\/wp\/v2\/media?parent=311"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}