230309: Secession: Katrin Plavcak – Human or Other, Klaus Mosettig – Pradolux, Hannes Zebedin – Traverse with élan instead of lingering

Secession: Katrin Plavcak – Human or Other, Klaus Mosettig – Pradolux, Hannes Zebedin – Traverse with élan instead of lingering Art comes from the artist The Secession is back again. Three individual positions in the three spaces: main room, gallery, graphic cabinet; all three of Viennese provenance, as if nothing had to be forced, improved, or turned by 180 degrees. Not even half a year ago confusion swept through the rooms, presentational turmoil did not rank behind the organisational, and one thought that the principle, which was followed for the past decades, was finally buried. Now the exhibits are going on as they always had, and everything is different. In the main room: Katrin Plavcak. Here you know what you’ve got; the sovereign presentation of dozens of panel paintings including a balloon installation and a corner with loud music, sounds out what is Pop. Behind every painting there is another, Zappa and Helge Schneider, politicians, science fiction heroes and Goya’s creatures from his 43. Capricho, after the sleep of reason gives birth to monsters, are introduced. Anyhow, Pop implies the acceptance that there is nothing new. But repetitions can be exciting. In the graphic cabinet: Hannes Zebedin. He is one who intervenes and aims at being political. This time, however, his intervention turned out to be a fitting; a kind of reassembling and dismantling of the gallery, which was once attributed the pompous term of institutional criticism. Doesn’t matter. Zebedin constructs walls in the hallway, beautiful smooth white-cube-like tiles, attempting to achieve a reversal effect. The exhibition space is not extended, but, as the construction authorities put it, it is made impassable, one has to pause on the ground floor, look up, and the space is extended after all. Everything would be nothing without art. Nevertheless - a perfect operation. In the gallery: Klaus Mosettig. He sets the highlight with a wonderful tribute to the principle of homage. In the 60s, Elaine Sturtevant, the mother of all appropriation artists, applied the traditional procedure of photorealism, projecting pictures onto a canvas, copying and transposing them to templates, which presented artwork. Mosettig does the same, especially with Jackson Pollock. He does this with pencil and yet again slows down the by now veteran and slowly expiring works with slides. Pollock is transferred from the wall to the ground and his authentic dripping is projected onto sheets, of which there are 15, all the same, because they were subject to one single template, but simultaneously always different, because the pencil claims its pertinacity. Who claims that it is the context, the situation, the location, which constitute art. An artists’ association could present nothing more evident. by Rainer Metzger Secession 1010 Vienna, Friedrichstrasse 12, until 13.04.09 www.secession.at

1010 Wien, Friedrichstrasse 12
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