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English summaries June 17 - 30
21er Haus
Gelatin – Loch
05.06.2013 – 29.09.2013
By Nina Schedlmayer
Those who entered the huge hall of the 21er Haus this June mainly asked themselves: why isn’t it possible to watch artists at work more often? The atmosphere that Gelatin created in its exhibition “Loch” (hole) was incomparable: while a young man in a torn wedding dress was swinging a beer bottle and joyously hopped through the room, a naked man worked on a sculpture, and the noise musician Philipp Quehenberger produced spherical and deafening sounds, the Gelatins and friends abseiled themselves from the ceiling onto an eight meter high Styrofoam cube, which they worked on in every conceivable way. Observing them reminded of workers in a mine: they drilled, dug, flailed the material with axes, cut and sawed, the physical effort was obvious. The shapes that evolved were subsequently filled and then assembled as sculptures - together with Styrofoam lumps and partially broken furniture.
The final products of this amusing study on deconstruction and construction surround the remaining Styrofoam torso. The partly demolished chairs positioned side by side at a table seem to expect the return of the sizeable group. Porous Styrofoam encounters hardened concrete, broken objects encounter intact objects – opposites play a major role in Gelatin’s sculptural parcours. A pity that the working process is not visible, but even if the atmosphere can hardly be transmitted by video, one could at least have incidentally placed a video somewhere in the corner. The happening was sensational.
21er Haus
1030 Vienna, Schweizergarten / Arsenal-Strasse 1
Tel: +43 1 795 57 – 0
Email: info@belvedere.at
www.21erhaus.at
Opening hours: Wed 10 - 18, Thu – Sun 10 – 18 hours
Galerie Gerersdorfer
Paper Work
06.06.2013 – 07.07.2013
By Wolfgang Pichler
Already before entering the gallery space, next to the entrance, both extremes of the exhibition are displayed on the wall. On the one side the works by Deborah Sengl from the series “His-Story”, on the other, the charcoal drawings by Franz Blaas. The fact that both, irrespective of their similarities, are not in competition with one another, was only possible by the way they are hung.
The added attraction for this intimate exhibition is that the gallery conveys the character of a generous apartment rather than a gallery. After all, for many people the option to own an original piece of art is that they are either made of, or on, paper. Yet in general, as sad as this may be, most galleries only display these kinds of works marginally; as an addendum to the “real” large canvases.
This becomes beautifully apparent in Alfons Pressnitz’s small paper cuttings titled “Shelf” or “Wall”. The focus in not only on the material but its filigree consistency. Only Tone Fink’s beautiful but not at all low-priced works are clearly not in line with the otherwise moderate price level.
Especially the object’s diversity and everyday suitability make this show so appealing. And in addition, it's a pleasure to be able to discover works by Michaela Ghisetti and Franz Blaas that are not so well known – presented next to well known works such as the “Hermosa” nudes by Hubert Schmalix.
Galerie Gerersdorfer
1090 Vienna, Währinger Strasse 12
Tel: +43 1 310 84 84
Fax: +43 1 310 84 85
Email: office@gerersdorfer.at
www.kunstnet.at/gerersdorfer
Opening hours: Thu, Fri, Sat 11 – 20 hours
Galerie Ulysses
Martha Jungwirth
05.06.2013 – 20.07.2013
By Nina Schedlmayer
Which status would Martha Jungwirth have today if she were a male? Would it be comparable to that of Prachensky, Kocherscheidt or Anzinger? The fact that one still has to question this in the 21st century is once again proof of how female artists – to this very day – are neglected.
The Gallery Ulysses is currently showing Jungwirth’s work - luckily one must say. Jungwirth is capable of extracting such depth from gestural-abstract art, which at the same time appears unbelievably light. In her series of large format aquarelles (Spitellauer Lände, 1993), sweeping lines condense to thickets, bundles of red and black colour develop, the back and forth of lines generates a confusing dynamic, objects develop diffusely. More compact are her works in the recently completed series “Am Wienfluss” as well as in her untitled paintings, in which block-like red figures are surrounded by hand prints, rivulets, splashes, and drops, and in which the colour red and purple shimmers through from behind earthy sediments, and geometric shapes literally appear to be leaking out.
Like every really good gestural abstraction her work has depth as well as breadth. No wonder that Martha Jungwirth was granted such a prominent place in the exhibition “Schönes Klosterneuburg” curated by Albert Oehlen in the Essl Museum – maybe she clandestinely has the status of an artist’s artist , yet nobody knows. But now it’s time that professional curators discover her oeuvre and publish it accordingly.
Galerie Ulysses
1010 Vienna, Opernring 21
Tel: +43 1 587 12 26
Tel: + 43 1 587 21 99
Email: Ulysses@galerie-ulysses.at
www.kunstnet.at/ulysses
Opening hours: Tue – Fri 10 – 18 hours, Sat 10 – 13 hours
Galerie Krobath
Julian Opie
07.06.2013 – 27.07.2013
By Susanne Rohringer
In its last exhibition before the summer break, the Gallery Krobath is currently presenting works by Julian Opie.
The British artist was last shown in Vienna in 2008 in a large solo exhibit in the MAK. At that time, Opie created animated figures shaped only by lines and borders; stick-like figures kicked balls beyond the border of his paintings. His work was characterized by the spontaneous play with motion.
Similar features also characterize Opie’s more recent works that are shown in the Gallery Krobath. Upon entering the room you see large horizontal formats behind glass: landscapes, appearing as if the viewer is looking at them while driving by in a car: light and dark green fields and meadows, brown planes occasionally interrupted by a tree, a road winds itself through the landscape. All of these impressions convey the feeling of travelling in midsummer; one literally senses the glimmering air. His work “Evening Sun, 2011” depicts a tree on a slope with a view across a valley and insects buzzing. Juxtaposed is his painting “Apple Tree” (2012) showing apple blossoms on a branch set against a blue background, bees humming and birds singing.
From an art historical viewpoint, Opie follows the traditions of the 17th century landscape paintings by Claude Lorrain or Nikolas Poussin. But he also applies facets of 18th century Japanese woodcuts in his works. Opie is an extremely polyglot artist who creates awe-inspiring art worlds with a sense of ironic humour.
Galerie Krobath
1010 Vienna, Eschenbachgasse 9
Tel: +43 1 585 74 70
Fax: +43 1 585 74 72
Email: office@galeriekrobath.at
www.galeriekrobath.at
Opening hours: Tue – Fri 11 – 18 hours, Sat 11 – 15 hours
Mehr Texte von translated and summarized by: Liz Wollner-Grandville
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