English summary October 4 - 10

Rauminhalt Laurent Ajina – Black Intervening Object 01.10.10 until 30.10.10 Creating space for content During this year’s vienna design week, Rauminhalt once again surprises with a remarkable exhibition. In Black Intervening Object the French artist Laurent Ajina combines significant design objects with his paintings and thereby structures the gallery into specific space volumes. The line-mesh paintings, all exclusively made with a black oil crayon, correspond with their objective and enigmatic counterparts, thereby creating create a clearly defined space. The artist abstained from using colours, as he believes that colour distracts from the perspective and spatial effect. Oftentimes the structural quality of the painting and the object correspond with one another, as in Ajina's painting “Territorie26, gloss naissant” and the sofa “Loveseat” (Gruppe B.R.A.N.D., 1985). The permeability, which defines both the formation of the sofa’s iron frame and the graphic net of the corresponding painting, allows a spatial continuum to develop that envelops both. A kilim (Morocco, 20th Century) occupies the entire space along the floor beneath “Territoire28”. The relationship between the two-dimensional quality of the drawing and the feel of the carpet seems inverted. The canvas, which is spanned beyond the stretcher frame and the drawing, which goes over the edge, acquires a physical substance that is finds it active continuation in the pure black of the carpet - thereby appropriating volume. In contrast, the spatial structure of a small painting leaning against the wall “Oasis1”, and a pair of shoes made of black PVC (Zaha Hadid, 2009), which face the painting, mediates intimacy. The line constructions exemplify Laurent Ajina’s artistic uniqueness – a clear example is the intervention that he constructed in reference to Charlotte Parriand’s chair “Synthesis of Art” (1954). The chair, wedged into the wall, seems either to have outgrown the limitation of vertical space or to have broken it with all its energy, which in turn is restored back into the wall by way of the painted lines. This installation audaciously takes possession of the room. In his paintings, Laurent Ajina attempts to construct perspectives and space with precisely set lines, which are either compressed in extreme concentration to form a tactile quality or powerfully blown up and fragmented. In a confrontation with the respective objects, this principle is maintained. Both media forms comment each other and complement each other discursively - thereby creating an extensive area of tension, which should be consciously perceived as an intrinsic volume with all its decisive components and definitive qualities. By Margareta Sandhofer Rauminhalt 1040 Vienna, Schleifmühlgasse 13 www.rauminhalt.com Opening hours: Mon – Fri: Noon – 7 p.m., Sat 10 a.m. – 3 p.m. Salzburger Kunstverein, Künstlerhaus Roman Ondák – Before Waiting Becomes Part of Your Life 23.09.10 – 28.11.10 Stories about waiting Roman Ondák’s orchestrated queue has now arrived at the Salzburg Kunstverein. In the performance “Good Feelings in Good Times”, people gathered to stand in line at various art sites, but in Salzburg the metaphor of waiting is displayed in a documentary presentation with 24 glass showcases and two video projections. The exhibition in Salzburg deals with the consequences of Ondák’s successful performance, which was even shown at London’s Tate Collection as the first immaterial artwork, following its premiere in 2003 at the Kunstverein Cologne and the Frieze Art Fair in 2004. Disconnected from the direct influence of the artist, “Good Feelings in Good Times” started to lead a life of its own, which the artist documented by collecting publications about the performance. The catalogues and magazines are presented in glass showcases, constructed by the artist using modified table frames, boards, and handmade Plexiglas covers. These hybrid objects, randomly but nevertheless precisely positioned throughout the room, are complemented by two videos showing a woman with two boys practicing the art of queuing as a singular group in a public space. Frozen into their respective media, the queues in “Before Waiting Becomes Part of Your Life” conjure everyday moments oscillating between reality and orchestration, triviality and absurdity. The stimulus of this work lies in the insecurity on how these stories about waiting are interpreted. Yet the fact that “waiting” is demonstrated by way of the art world could harm Roman Ondáks desire to expand the idea of waiting in our imagination. By Luise Reitstätter Salzburger Kunstverein, Künstlerhaus 5020 Salzburg, Hellbrunnerstrasse 3 www.salzburger-kunstverein.at Opening hours: Tue – Sun: Noon – 7 p.m. Artelier Contemporary Christian Philipp Müller – ach wie gut dass niemand weiss (Alas, I am glad that nobody knows) 24.09.10 – 04.12.10 Loden-transfer Christian Philipp Müller created installations and artistic actions dealing with the traditional Styrian weatherproof cape (Lodenmantel) at the Artelier Contemporary under the ironic title “Alas, I am glad that nobody knows”. The artist tears the archaic piece of clothing out of its normal context and transfers it in a different colour into a different environment. Draped in a red or at times in a white Loden-coat Müller shows up in the Styrian countryside as well as in Miami or New York. His actions evoke reactions, which, depending on the colour of his weatherproof cape and the onlookers values, either ascribe religious, occult or myth-enshrouded connotations to the artist. Photographs of these situations are exhibited on the traditional green-coloured Loden. In his installations, Müller associates the Loden-cape with relicts of its functional origin and, as in all of his works, questions topics of cultural identity and transfer, as well as relevance and the importance of coding and authenticity. By Margareta Sandhofer Artelier Contemporary 8020 Graz, Griesgasse 3 (at the corner of Südtirolerplatz) www.artelier-contemporary.at Opening hours: Tue – Fri: 11 a.m. – 6 p.m., Sat: 10 a.m. – 12 p. Winiarzyk Marita Fraser 18.09.10 – 16.10.10 Abstraction as a reference Marita Fraser’s artworks range between painting, installation and sculpture. The majority of her works carry the title “Diagram”. Her exhibition at the Galerie Winiarzyk, which will subsequently be shown at the Städtische Museum Engen + Galerie (as of November 6), is titled “Love of Diagrams”. Marita Fraser deals with the tradition of modern abstraction - by drawing back on it and creating many references through (loose) quotations. Her work can be seen as a diagrammatic inventory of topics regarding the (self-) reflection radius of abstract art. For example, by integrating the environment (wall surface, gallery space) into the composition of the picture or with kitschy motifs. She deals with the contrast between “objective” and “abstract”, as well as the subjective perception of the onlooker by humorously integrating Rorschach test patterns into her work. Through a series of references to art history she reflects on the self-reference of abstract art. By Milena Dimitrova Winiarzyk 1010 Vienna, Nibelungengasse 8 (entrance Eschenbachgasse 7) www.winiarzyk.com Opening hours: Tue – Fri 11 a.m. – 7 p.m., Sat 11 a.m. – 6 p.m

Ihre Meinung

Noch kein Posting in diesem Forum

Das artmagazine bietet allen LeserInnen die Möglichkeit, ihre Meinung zu Artikeln, Ausstellungen und Themen abzugeben. Das artmagazine übernimmt keine Verantwortung für den Inhalt der abgegebenen Meinungen, behält sich aber vor, Beiträge die gegen geltendes Recht verstoßen oder grob unsachlich oder moralisch bedenklich sind, nach eigenem Ermessen zu löschen.

© 2000 - 2023 artmagazine Kunst-Informationsgesellschaft m.b.H.

Bezahlte Anzeige
Bezahlte Anzeige
Bezahlte Anzeige
Gefördert durch: