English summaries July 15 - 28

Museum of the Moderne Salzburg Rupertinum Matthias Herrmann 16.06.13 to 22.09.13 Self-portrait as Janus head By Daniela Gregori The expression could stay stuck to the unrolled film as a fly on one of these old fashioned adhesive traps. Almost a vanitas still life, a meditation about the transience of one of the completely usual mediums of not so long ago. That, too, is also a form of self-reflection. After all the years of sexually charged works, it was two decades and eight years as Professor for "Art and Photography" before Matthias Herrmann rendered his thoughts about recognizability, about the success of individual pictures, took an interest again in the photographic process as such. He had often left self-stagings with citations behind him, went on journeys and one was amazed when the results of these changes of direction were presented last autumn in the Viennese Gallery Steinek (which artmagazine reported on). All of them travel pictures are devoid of people, slightly melancholic and very exactly formulated. Matthias Herrmann has now been awarded the "Otto Breicha Prize for Photographic Art 2013" in Salzburg, occasion enough to recall the complete oeuvre of the artist, born 1963 in Munich. It ranges from his most recent works to the chronology of his personal reflections, to daily scenes, to art and its presentation in a spatial context, and to the "Secession Pieces". From this point on in the exhibition, one comes quite retrospectively across things well known and much loved. There, in the abundance of the "Text_Pieces", the "Hotel" series or the "Junior Line", it becomes clear that the artist eventually had to break away from the recognizability of his work. Until one discovers in a glass case two silver gelatine prints from the year 1988, when Herrmann changed from the ballet ensemble of the Vienna State Opera to a student at the High School for Applied Arts. The young artist in (half) profile, mirrored, so that a Janus head is revealed. And somehow, these two early works also stand for the option of a change in direction. All the locations of the travel pictures, also the so exactly set-in-the-scene analogue technique of photography, all the motifs of the latest works by Matthias Herrmann have possibly seen better times. Nevertheless, they simply add up to these very precise documents of a life world. On that note: the varnish is off, long live brilliance! Museum of the Moderne Salzburg Rupertinum 5010 Salzburg, Wiener Philharmonikergasse 9, Tel: +43 662 8042 2541 Fax: +43 662 8042 2542 www.museumdermoderne.at Opening hours: Tue-Sun 10-17, Wed 10-21 hours CaixaForum Madrid Seducidos por el arte – Seduced by art. The past and present of photography 19.06.2013 to 15.09.2013 Night music By Clementine Kügler It's all about the influence of classical paintings by old masters on the pioneers of photography and contemporary photo artists. "Seduced by art – the past and present of photography" shows how photography dipped into the source of painting since its beginnings in the 30's of the 19th century and that it still does so today - not only in ironic form. Not astounding as a theory, but worth seeing as exhibition with the juxtaposition of the works of different epochs and techniques. Following exhibitions in London and Barcelona, the co-production of London's National Gallery and the Cultural Foundation of the Savings Bank "La Caixa" is now shown in Madrid: the curator, Hope Kingsley, has collected 130 portraits, nudes, still-life’s and landscapes. A clear parallel is shown between Jeff Wall's large format light box, "The vandalized room" (1978/1987) with mattresses and piles of material and Frédéric Villet's earlier copy in oils (1844) of "Death of the Sardanapal" by Eugène Delacroix: aesthetically staged vandalism. In Sarah Jones' "Old art studio" (2008), all that remains, reduced down to the essence, is a grey mattress with a much-folded, draped mauve material. Often, it's still only single aspects that function as citations of the contemporaries. Sometimes the first photographs are pure documentary reproductions, such as the sepia-coloured tulips at the end of the 1860's, sometimes clearly inspired by old masters' paintings: Roger Fenton's ornate fruit still life on albumin paper from 1860. Beside a magnificent, dark still life by the Spanish master, Luis Meléndez from the late 18th century is Evelyn Hofer's (1922 to 2009) photo of a black vase and a plate of plastic fruit into which one wants to bite. This desire dissipates at Sam Tayler-Wood's DVD of a plate of rotting fruit (2001): "nature morte" in the true sense of the word. As a premiere in Madrid: The Spanish photographer and national prizewinner, José Manuel Ballester, comes to grips with Francisco de Goya's historic "3 May 1808". The moving picture, which hangs in the Prado, shows the execution of Spanish rebels by the Napoleonic occupying forces in Madrid. Goya possibly witnessed the event but only put it on canvas in 1814. Two hundred years later, Ballester created a monumental photographic print on material on which all figures are digitally deleted. The shadowy picture of the city remains as the setting and the glowing, quadratic lantern as the highly symbolic allegory of the event. CaixaForum Madrid 28014 Madrid, Paseo del Prado, 36 Tel: +34 902 223 040 www.lacaixa.es/obrasocial Opening hours: Mon-Sun 10-20 hours Galerie im Traklhaus Collected – a glimpse into an artist's studio 04.07.2013 – 10.08.2013 Equestrian pictures and record covers By Werner Rodlauer Who doesn't know them, the innumerable exhibitions with sonorous names of artists and the subtitle "Masterpieces from the collection ..." – and then follows the name of a more or less famous private collection. Even in the art market, the private art collectors play an ever-greater role in times of economic crisis. Two years ago, ART BASEL even introduced a kind of two-class system for the really big buyers and the "normal" collectors; and in Berlin, the best cared-for buyers guarantee the largest part of a year's turnover for the galleries during the Gallery Weekend. The private collecting of art is publicly thematised and discussed – this year’s VIENNAFAIR The New Contemporary is coming up with a symposium in which collectors present their strategies; as a School of Art Collecting, so to say. But with all these activities, it's surprising how little those - whose works it's ultimately all about - have their say: the artists. They who produce the coveted collectors' pieces should actually know what it pays to collect and which strategies lead to the compilation of a fascinating collection. The Gallery in the Traklhaus takes up the theme and presents works from 18 collections of artists – in part with really surprising results. The selection of the presented works was effected by the artists themselves and shows the themes with which they deal and which colleagues they have worked together with, and also at the same time, naturally, in which context they like to present themselves. So Christian Ludwig Attersee chose Jörg Immendorf and Jean Cocteau, whilst Irene Andessner exclusively chose works by C.O. Paeffgen whom she met in Cologne as a studio neighbour. That Andrew Phelps and Matthias Herrmann exclusively chose photography from their collection admittedly shows the reference to their own work, but it is actually a pity – it would have been interesting to see with what other artistic media they otherwise deal with. The choice of works by Anna Heindl and Manfred Wakolbinger are surprising, showing exclusively art works with equestrian motifs from their joint collection – a reverence to riding as a hobby that they incidentally share with artists such as Jenny Holzer and Bruce Nauman. The initial picture of the equestrian collection was also a choice in the represented photographic works of Hans Weigand. Franz Graf proves his passion for music with vinyl works, amongst others, by Franz Pomassl, Otto Mühl and Marcel Duchamp. Even if some artists have decided to integrate their own work into the presentation, the focus still remains on the works that they themselves consider as important and worth collecting. The densely hung individual collection blocks are pleasantly non-didactic and yet one can learn a lot about collecting art in this exhibition. Above all, that it's not the concept or the correct strategy which makes a collection interesting but the concentration on the individual work and the individual power of judgement. Galerie im Traklhaus 5020 Salzburg, Waagplatz 1a Tel: +43 662 8042-2149 Fax: +43 662 8042-3078 E-mail: traklhaus@salzburg.gv.at www.salzburg.gv.at/traklhaus Opening hours: Tue-Fri 14.00 to 18.00 hours, Sat 10.00 to 13.00 hours Lentos Museum Linz Olafur Eliasson 28.06.2013 – 22.09.2013 Artificial sun and a room full of colours By Hannah Winkelbauer Viennese know Olafur Eliasson's work, "Yellow Fog": to some the installation at the corner of the Heidenschuß/Am Hof indicates a fire with smoke formation, water damage or a clean-up operation. Tourists and locals are torn for a moment out of their inner city rut by the rising, yellow fog shown daily at twilight – they marvel and pause for a moment. Eliasson, a Dane born in Iceland and who lives in Berlin, deals with physical phenomena in his art, with light, water and weather. In 2003/4, in the turbine hall of London's Tate Modern, he brought the weather into the museum with the "Weather Project". This installation of an artificial sun and fog constructed the illusion of a sunset. A work by Eliasson, which has to do with the sun, is now presented in the Linz Lentos. Together with the engineer, Frederik Ottesen, also a Dane, Eliasson developed small solar lamps for the project "Little Suns". The design of the lamps created from robust synthetic materials is reminiscent of sunflowers or "Little Suns". Charged in the sunlight for five hours, the appliances still give off light for five hours in the darkness. The small wonders should make it possible for children in areas without electricity to be able to do their homework even after the sun has set or to read without being subjected to the toxic gases emitted by other light sources. However, the lamps are not sent to Ethiopia, Uganda, Kenya, Burundi and Zimbabwe as handouts. Eliasson and Ottesen deliberately decided to sell the "Little Suns" cheaply to people who would then be able to sell them again in their area, thereby getting an income. To what extent the project falls under the category of "art" is anyone's guess. In July 2012, Eliasson himself argued in an interview with the FAZ that the "Little Suns" are indeed art because he, as an artist, is only interested in art and only creates art. The explanation on his website sounds somewhat more plausible, that the art of the "Little Suns" are those things which were made possible through them and their light. The documentation of the "Little Suns" project is only the encore to the installation in the main hall of the Lentos. In the no longer recognizable hall on whose white walls many large and small format pictures normally hang, visitors now plunge into a sort of rainbow in the dark. The mighty light installation, "Sua fogueira cósmica/Your Curious Camp Fire" (2011) in the darkened, black surrounding is captivating. A projector lets pink, violet, blue, green and yellow stripes drift along the walls. The stripes pass by, become broader and then narrower. One is tempted to run after one's favourite colours, they often then disappear at the exact moment when one arrives at the other end of the hall. An event hall and a documentation of a social art project – as different as the two exhibited works by Olafur Eliasson are in the Lentos, the connecting element of light remains. Worth seeing, above all, are the short films that, in conjunction with the "Little Suns" project, were made by 18 filmmakers at the behest of Olafur Eliasson and are also shown in the Lentos. Lentos Art Museum Linz 4020 Linz, Ernst-Koref-Promendade 1 Tel: +43 70 7070 36 00 E-mail: info@lentos.at www.lentos.at Opening hours: daily, excluding Mondays, from 10-18 hours, Thu 10-21 hours

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