ALEXANDRA BAUMGARTNER (AT)
ANITA WITEK (AT)
Opening: Monday, 4 December at 7 p.m.
Duration: 5. December - 20. Jannuary 2018
Introduction: Katharina Manojlović
The Gallery is closed from 23 December 2017 until 8 January 2018
sponsored by: BKA Kunst; MA7-Kultur; Cyberlab
Dadaist and poet Tristan Tzara called the invention of the collage the most revolutionary moment in the development of painting and meant by that the fundamental break with established forms of artistic representation that it symbolised. Implicit to the technical processes of what comprises collage — gluing (Fr. coller), scratching, cutting, tearing, folding, mounting, assembling and de-composing etc. is the potential for radicality. While the papiers collés of the Cubists drew their sustenance from used, discarded and apparently banal sources, we are surrounded today with multiply reproduced, re-formatted and re-edited copies of constantly accumulating digital debris. The current focus of the Fotogalerie Wien will present four exhibitions and includes a wide spectrum of methods and processes used in collage in contemporary photo and video art. This renders the narrative and autopoietic strengths of this art form visible along with its innovatory energy as one of its fundamental and most evident characteristics, especially in relation to new technologies or spatial and sculptural expansions. The drift of the images is also always guided by energies that are anarchistic, driven by chance and play.
PREVIEW SOLO IX: ROBERT BODNAR Opening: 29 January 2018 at 7 p.m.
Home at Last
Opening: Monday, 23 October at 7 p.m.
Introduction: Günther Oberhollenzer
Duration: 24 October – 25 November 2017
Finissage, Artist talk and Catalogue Presentation: Thursday, 23 November at 7 p.m.
Opening: Monday, 4 September at 7 p.m.
Introduction: Katharina Manojlović
Duration: 5.September - 14. October 2017
cooperation with: Galerie Stieglitz19, Antwerp
MAGDA CSUTAK (RO/AT), CHRISTIANE FESER (DE), KARØ GOLDT (DE), SIMON PERATHONER (IT), ANIKÓ ROBITZ (HU), JULIA ROHN (AT)Opening: Monday, 12 June at 7 p.m.
Introduction: Petra Noll-Hammerstiel
Duration: 13 June – 15 July 2017
In her photos Anikó Robitz reproduces architectonic details that have been reduced to clear geometric forms and is presenting here various works or series which bear the titles of cities. Robitz searches for various structures in cities and in contemporary architecture which either remain clearly visible in her photos or disappear entirely. She is just as interested in spatial entanglements as with the proportions of the selected details and the wholes from which the details have been taken. Here, she is also examining the relationship of things to each another which can also cause the perception of space to appear in another light. These accentuated details are sometimes the walls of high-rise buildings which, compared to the actual dimensions are, in fact, small. At other times they are enlargements of fragments which are only a few centimetres in size in reality. The photos are composed in the camera and are not changed in post-production.
In her photographic and sculptural works Julia Rohn is concerned with industrially produced everyday products and their depiction in the media so that they dictate our perception, behaviour and emotions. By creating degrees of abstraction of these concrete products Rohn places them in new contexts. In the exhibition she will be presenting photographs (Waterfall and Cherry Kiss) of respectively two liquid soaps poured onto picture supports, where they intermingle and remind of tachisme works. She considers this process of spontaneous creation as analogous to impulsive consumer behaviour and market strategies which work on an unconscious level. In addition, she will be presenting photographs and objects made of washing-up sponges (Long Life). Liberated from their original functionality they become abstract works which allude to Pop Art, generate a discussion about colour, form, structure and materials and can be read as an ironic statement about our consumer culture.
Simon Perathoner’s concerns lie between art and science (technology); he is dealing with the relationship of humans to machines as well as with issues of representation in relation to photography. His series, Fragmented Images, consists of individual photographs on card – a recurring consequence of the same, de-contextualised but new image. The method is a reference to a piece of technical equipment which does not work properly. Here, the humanisation of the machine because of its functional failure is turned around: the artist depicts himself as a dysfunctional machine and simulates it in order to understand the mechanism which, although it has been created by humans is not always intelligible. This reversal is an attempt to demonstrate an encounter of human and machine in order to appropriate the characteristics of the machine and, as a human being, to reinterpret, re-read and depict them in the form of an image.
ALFREDO BARSUGLIA (AT), MELANIE ENDER (AT), JONAS FEFERLE (AT), MARKUS GUSCHELBAUER (AT), DAVID MUTH (AT), SWEN ERIK SCHEUERLING (DE), MIHAI ŞOVǍIALǍ (RO)
Opening: Monday, 24 April at 7 p.m.
Introduction: Petra Noll-Hammerstiel
Performance parting the square (Melanie Ender in collaboration with Waltraud Brauner; text, concept: Melanie Ender): 8 p.m.
Duration: 25 April – 27 May 2017
Accompanying program: Artist talk with Alfredo Barsuglia: Thursday, 18 May at 7 p.m.
sponsored by: BKA Kunst; MA7-Kultur; Cyberlab
Melanie Ender opens up architectural spaces by performative actions and by moving her body in space. She is showing video works such as topographie apartment, in which she appropriates a living space by balancing on available pieces of furniture thereby making a sensory ‘measurement’ of the space and imparting vitality to it. The subjective gaze of the camera follows the movement of the body and transposes the performative action into filmic space. For the opening she will work together with Waltraud Brauner on the performance, parting the square, which is based on her conceptual text that verbally sketches visible and concealed movements of a body in space. Space and movement of the protagonist are described by geometric shapes which in repeated changes of perspective are actively depicted or externally describe the scene like instructions of a notation.
Jonas Feferle is concerned with the conditions of a space, reacting to pre-determined spaces and their architectural features by occupying them with art works such as Raumteil 1.4., a sheet of aluminium over two meters high and 1.5 meter wide, the surface of which has been incised. Because of the incisions on the sheet, set in strict accordance with a high-density concept and the position in the room chosen for the sheet, it can be seen from another perspective. Either the graphic arrangements accentuate the room or push it into the background. The room can be read as a two-dimensional picture, the pictorial sheet as a three-dimensional room element. By using aluminium sheeting which is normally used as a backing for photographs Feferle is testing the materiality of the photographic image in space.
Markus Guschelbauer is showing various works dealing with the human subordination of landscapes and natural environment. The multi-media shelving unit, caught in the rack, in which videos, photographs, books as well as living and dead natural objects are integrated is conceived of as an interactive object intended to encourage visitors to engage with the boundaries of interior and exterior spaces. caught in the rack concerns order, form and archiving. Implementing the concept in various two and three-dimensional mediums means nature is – metaphorically spoken – ‘imprisoned in a sitting-room bookcase’. The domestication of nature by humankind is symbolised by being squeezed into drawers as well as rectangular or square, modular shelving systems which are the complete opposites of organic natural forms.
In the video work by David Muth, Footnote#01: Sipilänmäki, which was made in Finland, we see brightly lit greenhouses in the middle of the night. In the deserted pictures that appear so romantic, time appears to be standing still. The only movement is of the vegetation, imparted by a sporadic passing breeze. In actual fact, concealed inside the transparent greenhouses is an automatic food and plant industry run by machines. Nowadays it is possible to defy nature and, by using heating and artificial light, to produce tropical plants and vegetables at all seasons, even when it is cold and dark. Assisted by threatening electro music by Antti Tolvi, the greenhouses become alien architectural containers. This indicates the critical aspect of this work – the reference to industrial production processes which are disassociated from climatic conditions and natural cycles.
graue Kiste [gray box] by Swen Erik Scheuerling is one part of a series of videos in which the artist engages with exhibition spaces. In his video-/installations he creates ambivalent states of space, free-floating situations, and thereby shows that space, movement and perception are unstable values. The graue Kiste video was the first time that Scheuerling did not refer to a specific exhibition space but used instead a cardboard model of an empty, abstract square room that is reduced to walls and lacking any room-defining elements such as doors, windows, floor or ceiling. The model box, set in motion, turns, and is filmed from its centre. For the video the shots were quadrupled, time-shifted then montaged next to each other. The perspective of the enclosed cube is thus ‘unfolded’ in the manner of a panoramic picture. A regular backwards and forwards movement stretches the walls into a band and appears to dissolve interior and exterior views into one another.
In his documentary photo series, Production Areas, Mihai Şovăială examines empty spaces or areas which result from the demolition of Romanian industrial plants from the Communist era. At the time the factories drew people from far away and whole settlements, even whole towns, developed around them, however, without paying any attention to the structure of the nearby old towns. A flourishing economy was successfully established and Romania became an important exporter to Russia. During the post-Communist era these factories were demolished, thus opening the door for capitalist land speculation that was encouraged by political policies. Today these areas that once were factories have been – at least for the moment – forgotten. The photographic images of these empty spaces show a clear socially critical aspect and raise questions as to why functioning infrastructure has been condemned to become a wasteland.
Part II of the Partnership between Jeune Création Paris and Fotogalerie Wien
BRIGITTE KONYEN (AT), CLAUDIA LARCHER (AT), KLAUS PAMMINGER (AT),
TIMOTHÉE SCHELSTRAETE (FR), BEATRIZ TOLEDO (FR)
Opening: Monday, 13 March at 7 p.m.
Introduction: Julian Tapprich and Margaret Dearing
Duration: 14. March – 15 April 2017
sponsored by: BKA-Sektion II; MA7-Kultur; Cyberlab; Austrian Culture Forum, Paris; Institut Français Autriche, Vienna
Two artist collectives, the Association Jeune Création in Paris and the FOTOGALERIE WIEN, both institutions, that have been active for decades in encouraging and supporting contemporary art, have developed a collaborative exhibition project in the field of tension generated by photography and other mediums. The exhibition, which was shown in the Jeune Création gallery in Paris at the beginning of November 2016, will now be presented in an expanded form in the FOTOGALERIE WIEN. Project organisation: Michael Michlmayr, Julian Tapprich (FOTOGALERIE WIEN), Margaret Dearing and Edwin Fauthoux-Kresser (Jeune Création).
On the basis of the work of five artists who live in Paris and Vienna, the exhibition is an invitation to discover how photography penetrates the permeable borders of individual mediums and becomes part of the work material. Here, drawings, video and sculpture appear to be steeped in photographic images both in their materiality and in respect of the work processes and conceptual background too. The artists draw on photographic iconography for these fragmentary re-orderings – whether as archaic weaving, video animation, inlay work, transposing a flat print into three dimensions or reproducing it using charcoal drawing. For each of them the challenge seems to be to create new spaces that make it possible to render visible the connections of heterogeneous and differing pictorial material. Again and again the gaze bumps into these idiosyncratic configurations. The interventions in the image are visible everywhere and it rapidly becomes clear that the visual synthesis is only a fiction, a utopia. Each break in the material or perspective parades the irritation of the experimental mixture before our eyes that much more insistently and reveals the limitations on creating a unified whole. The different approaches taken by the artists in which photographs perpetually shine through calls specific characteristics of the medium into question: the motionlessness, the rigid point of view, the flatness, the limits of the picture. These lead to formulating questions that are wider than photography. How does one keep together what the image delivers in separate parts? How does one master the challenge of a defragmentation of the world?
Among other work Brigitte Konyen is showing the photo-weave Geschenkbild (Me, Myself and Them). The work is a self-portrait for which the first photo that Konyen made of her mother in 1971 when she was still a little girl serves as a thematic parenthesis. At that time each print that was ordered came with a small complimentary copy – a so-called ‘free gift’ picture – and this doubling up, this combination of large alongside small has always exerted a certain charm on the artist. For her photo-weave images the photograph is both starting point and work material. Personal photos, but photographically reproduced drawings and texts too are processed into art material by being woven. They appear in the grid of the image surface as little set pieces of memory, snapshots from Konyen’s life. Due to the two levels created by weaving the images overlap one another: details emerge showing us a familiar photographic reality in the abstract structure. Then again, other things are concealed and making associations is left up to the viewer. Time and place dissolve into self-made order. In general, her photo-weave works can be seen as a statement about the legibility of photography and how memories are constituted.
In Claudia Larcher’s work Heim [Home], one of the video works which she is presenting in the exhibition, a house is viewed from attic to cellar: Advent garland, leather suite, chandelier, printed curtains, a lawn mower that putters by the window, electric drill, screwdriver – the entire reservoir of a petit bourgeois provincial idyll, a well-lit icy absence of people. The work consists of a video animation in which still and moving images are edited into an apparently endless panoramic pan underpinned by an uneasy, droning soundtrack. This brings the uncanny up to the surface of the quotidian. Far distant from any rational sense the banality of evil is manifest in codes and allusions at the edge of perception and conveys a feeling of utter homelessness. Rooms have a distorted perspective and are bizarrely edited into each other. Sequences aspire to a chronology that consists only of snapshots, flashes of experience with no causal connection. (Thomas Mießgang)
The photo collage, The Great Train Robbery – A Little Journey Through Film History, by Klaus Pamminger, uses fragments from genre films of the whole of the twentieth century. These form the railway telegraph office from the first scene of Edwin S. Porter’s Western, „The Great Train Robbery“, one of the first films from the early history of cinema if not the very first ‘real’ film. What Edwin S. Porter developed in 1903 is to be found in all subsequent feature films. In Pamminger’s work, Fleming’s „Gone with the Wind“ together with Hitchcock, Buñuel, Kubrick and others right on up to Tarantino/Stone’s „Natural born Killers“, turn in a chronological spiral in the room. What always fascinates Pamminger with the inlay-like photo works is – in addition to the fundamental concerns with space and spatial perception in differing contexts – that as in painting, the production process leaves him almost completely free to compose an image. However, it is only the eye that determines the application of colour and brushstroke, by the selection of a particular section (here composed of filmic frames which, wherever possible, were manipulated no further). Space-time but also the substantive reference levels are taken into account equally and images are produced which, in their interaction, allow us to look outside the ‘spatial box’ and tell multiple stories simultaneously.
Timothée Schelstraete is showing charcoal drawings and paintings which are based on a collection of photos he made – literally snapshots, photos he discovered in the internet, in books or albums, film sequences ...They reflect the directly or indirectly fragmentary relationship he has to his surroundings and are the result of a kind of permanently floating attention. A subject comes up, the image attracts his attention, hypnotises him and then leads him on to another. Formal or semantic associations determine the work as if fixating on one thing too long and without sufficient reason had imbued it with meaning – without him intending to anything other than laying out some bait. By randomly linking fragments of the world he captures or creates with each other he obtains a kind of atlas, a constellation of motifs that follow an arbitrary chain of logic.
Beatriz Toledo has developed a process of creating art works that ascribes an expanded meaning to the photographic image and situates it in a wider context (photograph on wallpaper on wooden construction). Starting from the assumption that photography is a means of surveying and recording reality, Toledo brings into play sculpture and installation too, sounding out the boundaries between spatial parameters such as area and volume. The artist finds points of departure for her work in her everyday surroundings (views of her studio, press cuttings, found objects etc.): the pictures are deconstructed and reconfigured in space. In this systematic work which undermines the status of photographs and their integrity, the artist shows new stories and possibilities of interpretation. The resulting installations playing with overlapping, irritation and deception are thereby directly concerned with issues related to the materiality of the images. (Yannick Langlois)
Edwin Fauthoux-Kresser and Petra Noll, for the collective
There is always something left over ...
Opening: Monday, 30 January at 7 p.m.
Introduction: Hemma Schmutz
Duration: 31 January–4 March 2017
Artist talk with Christina Werner: Wednesday, 22 February at 7 p.m.
sponsored by: BKA Kunst; MA7-Kultur; Cyberlab
Since 2010 the FOTOGALERIE WIEN has put on an annual solo exhibition showcasing the work of a young, upcoming artist. This series of exhibitions, SOLO, functions as a platform and springboard for artists who are at the beginning of their career but who already have an extensive body of work that could be presented to a wider public with advantage. The aim is to achieve a sustainable level of public presence for the chosen artist and includes helping to organize cooperations and touring shows. For SOLO VIII we have invited the artist Christina Werner.
Christina Werner was born in 1976 in Baar (CH). She studied photography and media art at the College of Graphic and Book Art in Leipzig. Today she lives and works in Vienna. In recent years the artist has become increasingly concerned with the effects of globalisation and especially with current migration issues, the resurgence of nationalism and questions of representation. In her first comprehensive retrospective she is presenting four projects, one of which, the large scale work Something Is Always Left Behind is a new combination of two pre-existing projects, Neues Europa and The Boys Are Back. The central work of the Neues Europa presentation is a 106-page booklet that is free to visitors. It stages a collision between media images and quotations from right wing populism and racist activities with pictures and descriptions of the scenes of crimes perpetrated against, and memorials to, victims. In addition, part of this project is a wall installation of fragmentary images of people at right-wing events, short film excerpts from nationalistic speeches and the text panel, The Boys Are Back, which allows a palpable change of mood.
Reflecting Pools is Werner’s most current project and it concerns the memorial culture at ground zero in New York. The images talk of a huge police presence, massive interventions in public space – like cordon barriers – and US American patriotism. The pictures and the photo book are combined with a video with Donald Trump (post 9/11), talking about a new building that has to be ‘huge and majestic’. Issues of urban development and national identity connect Reflecting Pools with the installation, Pipal, which also comprises a number of parts and is a documentation of the ‚Sabarmati Riverfront Project’ in Ahmedabad in India.
The title of the exhibition derives from a Thomas Heise quotation: ‘There is always something left over, a remainder, that doesn’t quite fit. And then the pictures just lie around and wait for history’.
Hemma Schmutz and Petra Noll, for the collective