Exhibitions 2017

November 30, 2017 - January 13, 2018


Albrecht Zauner


Humans are a central theme in the oeuvre of Albrecht Zauner, who studied at the Academy of Fine Arts in Vienna under Joannis Avramidis. The interactions of body and space, proportions, and formal experimentation are often at the forefront. His materials of preference are stone and bronze. In this exhibition, plaster, steel, and straw also play important roles. 

In his newest works, Zauner examines the language of bodies and the vibrations, the resonances, they incur. The artist attempts to capture the movement and lightness of a moment in massive stone. 

At the center of his exhibition is a real scene he observed at the ocean, sculpturally reenacted indoors by Maria and Natalie

These two figures of plaster, steel, and straw are related to the sun and ocean, to each other, to themselves, and to the people around them. This consequently gives exhibition visitors an integral and dialogical meaning. “Observing, comparing, showing, hiding, and evaluating — consciously or unconsciously, bodies begin to resonate and stories are created. The more realistic the portrayal, the more directly the resonation process emerges,” says the artist. For “resonance” also means the reactions and acceptance or rejection by the audience. 

A third figure, of South Tyrolean marble, lays on the ground, wholly concentrated upon itself. Zauner has named it a-f. This is for the sound emanated by the unworked stone, stored on a wooden pallet, when set into vibration: middle A.


Smaller works of art and drawings accompany the exhibit.



 maria, 2017, Südtiroler Marmor, 150 cm

maria 4, 2016, Bronze,3/5, L 25 cm


maria  und Zeichnung von maria  (150 x 110 cm)



Vernissage: Mittwoch, 29.11. 2017,19.00 – 21.00

On the Exhibition: Hartwig Knack, Kulturwissenschaftler und Kunsthistoriker

Albrecht Zauner and Uschi Janig will be present.

Duration30 November 2017 - 13 January 2018

Tues – Fri from 12 – 6 pm, Sat from 11 am – 3 pm


7. Januar 2018 - 24. Februar 2018


Alfred Czerny



Vernissage: Wednesday, 17 January 2018, 7 - 9 pm

Duration: 18 January - 24 February 2018 

Di – Fr von 12.00 bis 18.00, Sa von 11.00 bis 15.00



November 30, 2017 - January 13, 2018

Present Practices

Uschi Janig


For Uschi Janig, media like the internet, newspapers, and books are sources of inspiration, and where she researches about crises. Her work is based on photos and texts. Another important source of inspiration is her direct social work with groups of people who live at the edges of society, either existentially or due to health, who experience exclusion and are stigmatized. Janig is interested in their subjective means of coping with crisis, the solutions they practice, and their views of the society they live in. Another aspect focuses on institutionalized crises such as communication taboos, discrimination, racism, environmental pollution, and much more. 

Chronologically, Janig began experimenting first in the field of painting, going on to work with installations on architecture, topology, and through direct interaction in their social and political fields. In recent years, her work has mainly been focused on drawing and painting, which the artist sees as a kind of retreat that allows her to think more about the two- or three-dimensional objects she produces and the activity itself. The same is true of her work processes of cutting out, dividing and warping, turning the foreground into the background, the painting into a sculpture. The generally abstract painting sculptures are made of light metal. Janig cuts out panels, warps them, and paints them – often on both sides – with oil, latex, and acrylic.


Gegenwartsübungen, 2017, Öl auf Aluminium, diverse Formate

„Narzisstischer Staat von innen“, 2017

41 x 61 cm, Zeichnung: Buntstift auf Papier

„Scheitern, geordnet...“, 2017

41 x 61 cm, Zeichnung: Buntstift auf Papier

„Gelenkter Schritt...“, 2017

je 41 x 61 cm, zwei Holzrahmen, Zeichnung: Buntstift auf Papier



Vernissage: Mittwoch, 29.11. 2017,19.00 – 21.00

On the Exhibition: Hartwig Knack, Kulturwissenschaftler und Kunsthistoriker

Albrecht Zauner and Uschi Janig will be present.

Duration: 30 November 2017 - 13 January 2018

Tues – Fri from 12 – 6 pm, Sat from 11 am – 3 pm





October 20 – November 25, 2017


Veronika Veit | Sculpture and Objects
Leo Kandl | Photography


Veit/Kandl - Transforming


Artist Veronika Veit, from Munich, is visiting the Galerie Straihammer und Seidenschwann with a group of works from 2015 and a spatial installation. Viennese photographer Leo Kandl joins her, presenting a concise selection of his now classic convolute of clothing photos. The title of the show is “Trans-Forming”. Curator Margit Zuckriegl explains: “The inevitable and often unnoticed aspects of change, particularly today in these times of fakeness and reality constructs, are an interesting phenomenon. The undefined aspects of forms and the transparency of materiality reflect the current contingency debates occurring in sociology, economy, and politics in an artistic context.” “Trans-Forming” refers to a process of change that emerges from forms that have been recognized as fixed and stable since ancient times, and allows new liquid formal analogies to arise.

In her series “Turning”, Veronika Veit transforms the presence of human figures into an ensemble of abstract husks. Presence is turned into absence — manifested by the remnants of the eliminated person: Clothing, husks, sculptures, bags, and shoes collide with balls, tubes, pipes, and stands. The observer looks on in shock at these supposedly everyday items, the life and will to merge of the objects inciting irritation and interest. Head over heels, figurines tumble from a skirt into a neck ruffle, insect-eyed bald-headed replicas ask for their right to live: Are we the result of a test?

For Leo Kandl, it is out of the question that clothing exists for humans to play games with their identity. The articles of clothing he photographs take on the role of the wearer, mutating into objects with symbolic character and a sculptural quality. Kandl doesn’t show clothed bodies – but rather shells that have emancipated themselves into their own shape, assuming a unique physicality. There is room for interpretation and association within this “existential difference”. Philosopher Hans Blumenberg ties his phenomenology of things to the difference between perception and imagination: He named his 1980 publication To the Things and Back Again (translation 2002), attesting to art a sphere of non-representation of things. These also belong to the realm of the fantastic, the insecure, the mutated, and the changed. Veronika Veit and Leo Kandl work in these intermediate spaces, hot on the tracks of the unavoidable and unsuspected in the processes of changing things.




Veronika Veit
Sculptures and Objects

Array, 2013, Kunststoff, Acryllack, Leder
33 x 23 x 24 cm

Eloy, 2011, gold, resin, plastic, paper,
acrylic, clothes line, carpet, glass, metal
150 x 90 x 78 cm

the bitch:
Die bitch ist mein Zenmeister, 2015
Stoff, Epoxidhharz, Lack, Metall, Kunststoff
44 x 34 x 17 cm


Turning 3
(Method for shifting one´s own point
of life in time, try out 3), 2015
fabric, epoxy,resin, polish, metal,
paper, plastic, rubber
about 170 x 55 x 60 cm

Turning 8
(Method for shifting one´s own point
of life in time, try out 8), 2016
fabric, epoxy, resin, polish, metal
about 155 x 58 x 50 cm




Leo Kandl 


Flohmarkt, 1996
Vintage C-Print, 30 x 22 cm

Gewand, 1996/2015
C-Print, 27,5 x 18,5 cm



Vintage Silbergelatine Print

Theaterkostüm, 1994/2016
C-Print, 25 x 36,5 cm





Vernissage: Thursday, 19 October 2017, 7 – 9 pm

Exhibition Duration:  20.10. – 25.11.2017

On the Exhobition: Margit Zuckriegl, Curator
Veronika Veit and Leo Kandl will be present.


September 7 to October 14, 2017

Nina Annabelle Märkl
Aggregates and Conditions


Objects and Drawing 



The line evokes spaces – a fold in a piece of paper makes a two-dimensional drawing into a three-dimensional spatial form. Nina Annabelle Märkl’s projects happen at the interface of drawing, installation, and sculpture. They dissolve genre boundaries in the same way that figure and object dissolve into a symbolic abbreviation, a technical fragment into organic bodies, recognition into non-recognition, representation into abstraction, proximity into distance. In their porosity, they create a space that oscillates between different levels of reality at the moment of transition. It is important to observe the simultaneity of things and their appearance(s), as well as the moment of distraction that is connected to our perception in a digital age, using analogue means. By making pictorial elements recognizable, the objectivity of representation forms a contact point for perception. It creates a sense of familiarity that is associated with the recognizability of an object or a fragment. At the same time, it initiates a diversionary maneuver that removes certainty from what is seen, and almost imperceptibly releases the visible by taking the ground out from under it. In her scenarios, Märkl designs fragile constellations of the existing that question habits of seeing and perceiving, while unfolding different perspectives at the same time, as if looking through a kaleidoscope. Reflections reproduce spatial forms that are real and others suggested by the drawing, taking viewers and engaging them in a dialogical interplay with the possibilities of the space. (Nina Annabelle Märkl)


Vernissage:  September 6, 2017, 7 - 9pm

Duration:  September 7 to October 14, 2017

On the Exhibition: Hartwig Knack


September 7 to October 14, 2017

Elfriede Mejchar
Ich habe meine Arbeit immer sehr gern gehabt






Elfriede Mejchar made her public debut as an artist at the Herbstsalon of Galerie Nächst St. Stephan in 1975. By then, she had been working for the Federal Office of Monuments for 21 years and had shaped our image of Austrian art and architecture. As a topographer, she learned to not take photos manipulatively, to not tell a story. She has traveled thousands of miles in the course of her professional life, and began to photograph what she found along the way: car wrecks, scarecrows, hotel rooms, and much more. Though she was commissioned by the Federal Office of Monuments to photograph things significant and great, she discovered things unremarkable and small for herself. These photographs form the basis of her tireless studio and darkroom work, which she has been producing since the 1980s, and which is always open to associations and permeated by impressions and experiences. There she can confess to a radical subjectivity. She says of herself: I could never stop, and I always wanted to experiment and try out new things. The photographs shown in the exhibition are poetic collages that were created for Kremsmünster Abbey, along with her documentary work. The superimposed layers are like a pane of glass through which we can see our own thoughts and impressions.


Vernissage:  September 6, 2017, 7 - 9pm

Duration:  September 7 to October 14, 2017

On the Exhibition: Hartwig Knack


June 8 to September 9, 2017

Jenny Watson
Other Lives


Painting and Drawing 

Born 1951 in Melbourne, Jenny began examining the problems of sensual perception – of reality, identity, and the definition of an object – in early 1970. Since 1993 at the latest, when she represented her nation at the Biennale in Venice, Watson has been one of the internationally most well-known artists of the Australian continent. The distinctive aspect of her work is the combination of painting, text, and objects, as well as the interaction of humor, irony, and simple yet striking subjects. 


Vernissage:  Wednesday, June 07, 2017, 7 to 9 pm

Duration:  june 8 to September 9, 2017

Curator: Hartwig Knack



June 8 to September 9, 2017

Renate Krätschmer und Sito Schwarzenberger
Am Rande des Etwas


Drawing and Installation 



Humans, embedded in nature and cultural identity, trapped in societal norms and constraints that are sometimes criticized or even radically broken from, has been the central theme of the oeuvre of the K.U.SCH artist collective, founded in 1972 by Renate Krätschmer and Jörg Schwarzenberger (1943-2013) and joined in 2006 by their son Sito. 

Rhythm, dynamics, and movement are constitutive characteristics of Renate Krätschmer’s drawings and objects

In a floor piece that has conquered part of the wall of the exhibition space, Sito Schwarzenberger arranges various symbols, signs, text fragments, and found objects to create a superordinate whole.


Vernissage:  Wednesday, June 07, 2017, 7 to 9 pm

Duration:  june 8 to September 9, 2017

Curator: Hartwig Knack

Renate Krätschmer and Sito Schwarzenberger will be present.


April 27 to June 3, 2017

Tony Stegmayer





The exhibited stone sculptures by sculptor and video artist Toni Stegmayer, who resides in Kiefersfelden in Bavaria, look at the topics of perception, movement, openness, and static coherence. When observing the cubic works of the Mental Rotations series, characterized by clean incisions and irregular fractured surfaces, the desire to imagine the individual elements back in their original state immediately arises.

The sculptures of the second series on exhibit, Constellations, are a series of stone blocks and pillars that are re-organized for each exhibition situation, and that take over the gallery space in chaotically situated piles of symmetrically placed blocks and single pillars. With carefully set incisions and controlled breaks in the material, Stegmayer bends the massiveness of the stone cubes, seeming to bring them out of their static balance.


Both Krasimira Stikar and Toni Stegmayer work with a complex interplay of movements, statics, time, and space.

Vernissage: Wednesday, April 26, 2017, 7 – 9 pm

Exhibition duration: April 27 to June 3, 2017

Curator: Hartwig Knack, Cultural Scientist and Art Historian




April 27 to June 3, 2017

Krasimira Stikar


Drawings and installation


Krasimira Stikar, born 1980 in Bulgaria, finished her studies under Peter Kogler at the Academy of Fine Arts Vienna in 2005.

Here, Stikar exhibits works on paper that show us sequences of movements in a concrete-minimalist way akin to the image sequences of a short video animation, focusing on the themes of change versus stasis and inside versus outside in a geometrically minimal manner. Stikar also painted a temporary mural for the exhibition that cites US American artist Frank Stella’s series titled Shaped Canvases. The artist contours and accents the solid front wall of the gallery entrance using a linear vocabulary that adds to the wall segment and makes it rhythmical, setting it into motion and opening up the room.


Both Krasimira Stikar and Toni Stegmayer work with a complex interplay of movements, statics, time, and space.


Vernissage: Wednesday, April 26, 2017, 7 – 9 pm

Exhibition duration: April 27 to June 3, 2017

Curator: Hartwig Knack, Cultural Scientist and Art Historian




March 9 to April 21, 2017

Magnus Pöhacker

Magnus Pöhacker was born 1967 in Innsbruck. He studied at the Academy of Fine Arts in Vienna from 1985 – 1991 in the Master Class of Sculpture led by Prof. Joannis Avramidis and graduated in 1991. He continued his studies in 1991/1992, going more in depth with Medal Making and Plastic Arts and beginning printmaking with the Master Class for Printmaking under Prof. Maximilian Melcher at the Academy of Fine Arts Vienna. He has been a freelance sculptor and graphic designer since 1991.

His work centers on human bodies, subject to the passing of time, moving, changing, or stopping in the midst of a motion.

The exhibition STANDPUNKTE reveals the narrative elements of sculpture. We find heads, torsos, and bodies laying down, sitting, standing, cowering, one-legged, proud, pushed down, and upright; we find round and edgy shapes, smooth and cracked, shapes made of concrete and metal. It is as if the artist has been on a long journey, near and far, and brought us sculpted photos to look at. Heads that turn out of their sockets and lift up over the earth; proud, calm heads. Figures that seem to hover in weightlessness, others that can barely rise, or not lift at all, and even others that seem to be stuck in their sockets, held fast by an unseen force.

Magnus Pöhacker is a quiet artist, but the titles of his works are communicative, such as Block-like Torso, Overextended Head, Small One-legged Person, Head Stalk, and more. Each sculpture has, depending on the lighting and the angle, an almost endless wealth of facets and appearances, telling us stories of emotions, friendships, passions, and the archaic rhythms of life and death that we are all subject to.

Vernissage:  Wednesday, 08.03.2017, 19.00 bis 21.00 Uhr

Exhibition Duration:  9.3. to 21.4.2017



March 9 to April 21, 2017

Anna Khodorkovskaya

Anna Khodorkovskaya

Born 1985
Lives und works in Vienna
2011 –... Academy of Fine Arts Vienna
2009 – 2010 The Institute of Contemporary Art Moscow
2003 – 2008 Moscow State University of Printing Arts

People try to get rid of the annoying “trash-things” of everyday reality. Advertising flyers,cheap magazines, used packaging and old worthless goods. Being produced by society itself, they are rather considered as physical and visual garbage. They are wanted to be thrown away and forgotten. But the junk of everyday life can also contain something worthwhile. Let us look closer at these fragments. What are they besides of what they say. One would assume that art and traces of the everyday were belonging to different orders, to different practices, both connected by a distinction that they have in common. Reflecting the everyday does not make art a part of it, and including arts in the everyday does not make it to an artistic practice. Yet, this gap between arts and the everyday is the starting point for these works. Reduction of the semantic function of the materials that are supposed to serve as an information media gives a possibility to focus attention on their visual and emotional components. Sometimes kept recognizable, and sometimes developed to an absolutely abstract compositions these images perform language of our daily aesthetics and dissolve the difference between arts and the everyday for the sake of a neither-nor, for the horizon of a moment of neutrality that is depending on the in-between of the elements it is constituted by and yet distinguished from what it is made out of.

Vernissage:  Mittwoch, 08.03.2017, 19.00 bis 21.00 Uhr

Exhibition Duration:  9.3. bis 21.4.2017



January 19, 2017 to March 4, 2017

möglichkeit erinnerung / A Possibility of Memory

They say that the human mind perceives the present as a span of three seconds – anything older than that is already the past. Today: No Longer (Heute: Nicht mehr, 2016) are medium format drawings and collages showing a landscape of direct experience changing as it already becomes a memory and is additionally interfered upon by other, random, thoughts. There is always a star present to symbolize distance in time and space. Photographs of a crystal, one of the oldest objects in the universe and one that radiates the most ancient memories,is emerging from the distant darkness accompaning the drawings.  An object floating in mid-air, The Inbetween, or Flying Foxes as Air Poets (The inbetweens, oder Flughunde als Luftpoeten, 2015) is probably the most fragile piece of the exhibition. It seems as if it could disappear while being observed. Photographers have long striven to capture a moment, to freeze it, but few of them have been able to create the simultaneity of tension and suspension. Judith Saupper’s object is not a frozen moment; you can’t do that. It has a form and is perceivable in its totality, which at the same time is indefinite and impossible to hold. It is just a fraction of time, with open possibilities for further flow. On the other hand, the temporal distance lets the human mind organize memories and bring an order into the past that the complexity of the chaos of the present does not allow. Some memories may be even constructed by the imagination in order to make the past more sensible and harmonious. In extreme situations, this process can lead to nostalgia. Untitled (Good Old Days II)(O.T. (Gute alte Zeiten II), 2010) is a sculpture of one such potential memory from past life, but instead of beauty and order, a utopian vision, it looks like an abandoned dwelling. Kept under a glass box, it gives an impression of something precious, just like personal memories are. It doesn’t look like a place where one would want to return to, where one would feel good. It just shows with humour how good in fact the “good old times” were when they were still new.


Judith Saupper was born in 1975 in Feldkirch, Vorarlberg. She graduated in Stage and Film Design from the University of Applied Arts Vienna in 2004. Since 2002, her artwork has been presented at numerous exhibitions in Austria and abroad. She has received prizes and been selected for residencies, and her art is part of numerous public and private collections. Judith Saupper lives and works in Vienna and Lower Austria.


Exhibition Opening: Wednesday, January 4, 2017, 7 to 9 p.m.
Elsy Lahner, Albertina  will talk at the exhibition 

Exhibition duration: January 19, 2017 to March 4, 2017