English summaries September 8 - 21

Albertina Arnulf Rainer Retrospective 03.09.2014 – 06.01.2015 Hieronymus in his study By Susanne Rohringer On the occasion of his 85th birthday, the Albertina is presenting an inspiring retrospective of the Austrian artist’s works. The two curators, Antonia Hoerschelmann from the Albertina and Helmut Friedel from the Frieder Burda Museum, the co-producer of this exhibition, arranged an exhibition well worth seeing. The “crucial points” of the graphic beginnings, finger-paint works, painted over photographs and large-format painted over panel paintings, which, with the help of dividing walls, form a kind of exhibition parcours, offer the viewer a perspective as well as unusual insights. It is this kind of presentation that provides an unimpeded view on the successful and multifaceted life of an artist. At the beginning of the exhibition, the so-called “Kruzifikationen” (cruciform shapes) dating from the 1950s, are shown, which were soon to be followed by his “overpaintings” on large-format canvases. The first of these works, which oftentimes took years to complete, are on display at the current Albertina exhibition. Rainer also continuously deals with the topic of death. Not only the overpainted death masks from the 1970s or the “Kistenwalhalla” (1980/88) are shown at this exhibition, but also the “Hiroshima” series (1982). The series is based on 72 black-and-white photographs of the city after it was destroyed by an atomic bomb. They are images of destruction, corpses, misery and filth. . Works that Rainer completed between 2002 until 2014 are shown at the end of the exhibition. They include large formats in which various colour panels – similar to textile panels seem to “caress” the canvas. The palette is refreshed, the colours are lighter, friendlier and more gauzy. In his later works, Arnulf Rainer has apparently reached more cheerful solutions to his artistic questions. May this lightness continue to accompany him. Albertina 1010 Vienna, Albertinaplatz 1 Tel: +43 1 534 83 -0 Fax: +43 1 533 76 97 email: info@albertina.at www.albertina.at Opening times: Daily 10-18 hours, Wed: 10-21 hours Galerie Jünger Karl-Heinz Ströhle: Made in Japan 03.09.2014 – 19.10.2014 Cheerful parasites By Margareta Sandhofer His six-month stay in Tokyo this year has left visible marks on Karl-Heinz Ströhle’s oeuvre. The experience of the permanently recurring tremors and swaying houses has inscribed itself into the new images. “Made in Japan” is the characteristic title of a 35-part series of paintings that oscillate between abstraction and figuration. The technology involves placing various everyday utilities underneath the painting - however, this time with the objects coming from a Japanese DIY market. The brittle imprints of doormats, electric cables, etc. construct a peculiar sensual situation, equalling a lustful exchange between elementary structures: an Eldorado dialog between the swinging line and the vibrating massive plane or the body, which could also resemble a building. It appears shaken, but stands firm. There is a humorous light-hearted moment in this narrative situation that Ströhle develops on several sensuous levels in the video installations in the gallery’s basement. Beneath the elegant space of Andrea Jünger’s new location, which was opened this spring, extends the tiled vault of a former bakery. Ströhle shows a movie on various impressive buildings, among them the Flakturm in Vienna’s second district, the television tower on Alexanderplatz in Berlin or the Shanghai Museum - in any case modern high-risers. His characteristic sculptures are mounted on these buildings. They are steel band constructions whose transparent volume, due to the material’s tension and resistance, may tremble, wobble or perform dancelike-rhythms. They swerve around the buildings in bizarre shapes. They utilize the rigour of their carriers for their light-footed irony, mounted like a cheerful parasite on the sublime structure of the building. In front of the projection, two such vase-shaped sculptures are positioned. They stand out significantly from the happenings on the screen with their linear presence, doubled through their own shadows. Ströhle works in numerous superpositions: the actual three-dimensional structure, its shadow, the digital cross-fading of such a sculpture in the movie, the movie itself and finally the marked resolution of the surrounding tiled walls. One could not have encountered the dominance of this historic tile structure with more ingenuity, the cunning sculptures take over control on all levels. Only the specimen mounted on the television tower on Alexanderplatz unexpectedly slithers off, while the others continue to wobble unashamed in mischievous tirelessness. Galerie Jünger 1040 Vienna, Paniglgasse 17A Tel: +43 664 111 47 71 email: office@galerie-juenger.at www.galerie-juenger.at Opening hours: Tue-Fri 11-18 hours, Sat 11-15 hours Startgalerie im MUSA Öllinger/Rainer – Lots of Success 05.09.2014 – 02.10. 2014 Self-confidence By Wolfgang Pichler The mantra of our time is “to be successful” and nothing less is important in art. On the contrary, competition in the area of “high art” is even harder and more merciless than in other areas, because the sole purpose of ones own actions depends on how its received by others. Beyond this awareness and approval by the audience there is no recognition, of any nature. In Rainer/Oellingers case this happens in the form of a parcour of themes that leads the viewers along the different stages of the path to success. This does not happen without ironic negations and self-doubts that show up as corrugated cardboard signs on the left and right of the defined path. The path itself is also made of cardboard and was elegantly and skilfully integrated into the rooms of the Startgalerie. The term “trash culture” takes on a completely new meaning. Rarely had anyone used brown packaging board so precisely and with such love of detail. Here one does not intend to show-off, but to doubt and hesitate. But this does mean that the two artists don’t want to have anything to do with all the “career nonsense”. Rainer/Oellinger rather openly and honestly discuss the feeling of despair about ones own lack of success and transforms it into something productive. The young artist duo Rainer/Oellinger skilfully connects to the well known experiences of self-expression, self-assertion and conquering ones place in society, and lead us through a roller-coaster of emotions. However, only those who have already experienced recognition through society and are in a more or less secure financial position will enjoy this parcour on success. Startgalerie im MUSA 1010 Wien, Felderstraße 6-8, neben dem Rathaus www.musa.at Opening times: Tue, Wed, Fri 11-18, Thu 11-20, Sat 11-16 hours Galerie Christine König On Paper – curated by Sepp Auer 05.09.2014- 27.09.2014 Spatial dynamics on paper By Walter Seidl The exhibition On Paper, curated by Sepp Auer, deals with sculptural studies and formations that regard drawings as the starting point of viewing and go far beyond the classic form of sculptural drawings. The function of a drawing as a sculptural reference point is explored in various ways, and the majority of the works presented can be seen as autonomous works, but partly also as studies for the realisation of objects. On display are works created by 35 artists of different generations, who position drawings and sculpture from an intermedial viewpoint - taking up questions on form and function. Among them - a sculptural three-dimensional study by Valentin Ruhry, proving that a drawing is not necessarily a precursor for object-specific developments. In a display cabinet, Ovidiu Anton arranged several sketches adjacent to one another, including thoughts about a performance as well as a photographic documentation of the final realisation, thus allowing the viewer to follow the developmental steps: from the idea to the realisation of this oeuvre. Using a graphic mindmap, Marusa Sagadin, in turn, analyses the relationships between space, architecture, object and sculpture in association with art theoretic questions. In addition to a series of other works by a generation of younger Austrian artists, among them Judith Fegerl, Roland Kollnitz, Constantin Luser, or Markus Wilfling, the exhibition also offers insight into works conceived by masters such as Louise Bourgeois, Alberto Giacometti, Antony Gormley or Fred Sandback. Christine König Galerie 1040 Vienna, Schleifmühlgasse 1a Tel: +43-1-585 74 74 Fax: +43-1-585 74 74-24 email: office@christinekoeniggalerie.at www.christinekoeniggalerie.at Opening Times: Tue - Fri 11:00 - 19:00 hours, Sat 11:00 - 15:00 hours

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