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110711: Krinzinger Projekte Artists in Residence Hungary 2010
Krinzinger Projekte
Artists in Residence Hungary 2010
01.07.11 – 10.09.11
Not nihilistic, extremely promising
Art is the deprivation of nothingness – something is being created that does not aim at anything specific except to represent a certain entity in contrast to not-wanting and not-meaning. Especially those who are just commencing their relationship with nothingness are exposed to losing themselves and failing. That is why one should at all times praise if one is offered the opportunity and the space to approach nothingness at eye level.
By founding the Residency in Petömhilálya (Hungary In 2010), Krinzinger Projects offered eight young artists this freedom, which – as this exhibition shows - bears beautiful fruits. Works by Eva Chytilek, Hajnalka Tarr and Rosmarie Lukasser are presented in the room on the left hand side. Among Tarr’s works are circular objects made of braille stampings placed on the floor. Both the nothingness and the something of the writing convey reflective glimmering aesthetics.
A large puzzle depicting Monet’s Olympia does not show the scandalous depiction of a cocotte with her hand between her thighs, but much more a camouflage pattern composition of different colour tones stapled in scales - thereby allowing the viewer to recover from the painting. Lukasser walked to Petömilhálfya in eight days and compiled a book about her tour with 120 images and a flip-book showing the images taken on her way back. The picturesque colourfulness of the five landscape photos taken with a pinhole camera is remarkable. Chytilek attracts attention with his huge black-and-white photograph showing three sculptures in an empty steppe landscape documenting defiance-against-nothingness. In the room on the right, one finds lovingly yet not painstakingly elaborated aquarelles by Klára Petra Szabó, in which young people dressed in lettered clothing escape complete anonymity on account of just this lettering. Zsolt Tibor shows five partly collaged drawings, interchanging between ironic amateurishness and meticulous aesthetics of construction – above one of his works hangs a mysterious antler form. Three uncut video works by Diána Keller play with the visual reversibility of time – while the watch moves anticlockwise, the flowers continue to decay. Henrik Martin presents two sculptures, a glowing Buddha made of stone and an “asteroid” covered by numerous snails as if fossilized. After pulling a curtain aside, visitors can enter Linus Reipler’s room-in-room. A narrow and low corridor leads to a larger space, which carries a touch of the creeps and offers beautiful music; after pulling two other curtain ropes you can admire a chrysalis formation.
The arrangement of the eight very different positions is noteworthy, and if you are afraid of nothingness, you cannot help but admire these young artists and wish them that they may continue to effectively thwart nothingness.
By Gesche Heumann
Krinzinger Projekte
1070 Vienna, Schottenfeldgasse 45
Tel: +43 1 512 81 42
Email: krinzingerprojekte@gmx.at
http://www.galerie-krinzinger.at/projekte
Mehr Texte von translated and summarized by: Liz Wollner-Grandville
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110711
Krinzinger Schottenfeld
1070 Wien, Schottenfeldgasse 45
Tel: +43 (1) 512 81 42
Email: krinzingerprojekte@gmx.at
http://www.galerie-krinzinger.at/projekte
Öffnungszeiten: Mi-Fr: 15-17h
Sa: 11-14h
Krinzinger Schottenfeld
1070 Wien, Schottenfeldgasse 45
Tel: +43 (1) 512 81 42
Email: krinzingerprojekte@gmx.at
http://www.galerie-krinzinger.at/projekte
Öffnungszeiten: Mi-Fr: 15-17h
Sa: 11-14h
