Exhibitions 2018


Current Exhibitions



Jenny Watson and Sophie Dvořák


Vernissage: Wednesday, November 28, 2018, 7—9pm

On the Exhibition: Watson: Hannah Stegmayer, Author and Artist / Dvořák: Melissa Lumbroso, Albertina

Duration: until February 9, 2019






Jenny Watson, born 1951 in Melbourne and one of Australia’s most important contemporary artists, represented Australia at the Venice Biennale in 1993.

She works with multi-part installations of painting, text, and sculpture. In her creations, she develops complex stories that have a feminist and socially critical bent while also allowing deep personal insight into her life. Her art explicitly addresses issues of female identity, with a boundary between autobiographical insight and fictitious findings that is deliberately unclear. Text and image do not necessarily align. 

In 2017, a large retrospective at the Museum of Contemporary Art in Sydney demonstrated the wide range of her work and its origins in conceptual art and the early punk movement. 

The Galerie Straihammer und Seidenschwann is pleased to represent this internationally active artist in Austria. 

Australian artist Jenny Watson (born 1951) came to the attention of a broad international public in 1993, when she represented Australia at the Venice Biennale. The head of the biennial, Achille Bonito Oliva, recognized the resounding combination of fiction and autobiography and expressed fascination with Watson’s artistic self-reflection, which claimed an autonomous position within the contemporary art scene.

The full installation she showed at the Biennale, Paintings with Veils and False Tails, consisted of canvas paintings with narrative drawings, panels with journal-like writings, and three-dimensional objects, namely ponytails and cloth bows. These attributes complemented one another to create typically feminine themes and the urge to identify the artist with them. After all, she is a dressage rider and breeds horses — a theme that recurs throughout her work, not only in this cycle. Several of the accompanying texts are written in the first person (“I feel like when my father used to dry my hair”) or focus on the artworks and their environment (“This painting is in the process of becoming important”). It is not unreasonable to assume a sexual allusion in the first case and ironic self-reflection in the second. The entire installation was impressive, intimate and sublime at once, and seemed to either reveal or at least comprehensively construct a psychological portrait of an individual. The viewer was overwhelmed and pulled into a strange space of intimacy.

However, anyone trying to nail Watson down about this narrative structure would have been disappointed. The connections between the texts and the images were only approximate: the paintings did not illustrate the text, and the text did not explain the images. Watson’s writings and images differ as much as possible from each other, making a palpable separation of the mental and visual apparatuses. The range of possible interpretations becomes an essential aspect of the work. Through their own personal interpretation, the observer experiences as much about themself as about the artist, becoming part of a psychoanalytic experiment, so to speak. At this point, it becomes clear that the artist is illustrating the process of interpretation. She invites the observer to interpret in sophisticated ways, scattering clues throughout different layers of drawing, providing complex and structured spaces for thought, and thus intervening to organize the observer’s experience.

The work, then, no longer reveals itself; it represents an elaborate form of conceptual painting, whose creator is participating in the current theoretical debate.

Jenny Watson’s work combines skillful, unembellished drawing with concise painted representations. Her imagery makes complex issues impressively visible, with image ideas that are coherent and metaphors reduced to the essentials.

Galerie Straihammer und Seidenschwann is showing her latest works, created during a stay in Japan in 2018.


1951  Born Melbourne, Australia.  

1972  Diploma of Painting, National Gallery of Victoria Art School, Melbourne  

1973  Diploma of Education, State College of Victoria, Melbourne  

1978-84  Partner in Art Projects, Melbourne  


Watson staged her first solo exhibition in 1973 and has since presented 60 solo exhibitions in Australia and 50 solo exhibitions in Europe, Asia, India, New Zealand and the United States.

In summer 2018 her work was shown in a solo-show – Jenny Watson. The fabric of fantasy- at the MCA Australia in Sydney.

Her work has appeared in numerous group exhibitions and is represented in state, corporate and private collections throughout Australia and overseas. 

Watson currently divides her time between Brisbane Australia and Europe



ohne Titel, 2018,
Acryl on fabric




Exhibition View, Gallery Straihammer und Seidenschwann,  2018





Drawings and collages


Sophie Dvořák is a collector and traveler. She gathers images, books, and found objects; she assembles, categorizes, archives, re-archives, and displays these artifacts and fragments with seemingly archeological methodology. In her own words, hers is a “subjective research process” leading to works that achieve an intricate balance between the precision of her craft and subject matter on the one hand, and the intuitive process on the other.

How fitting that cartography should feature so prominently in Dvořák’s ongoing survey of visualizations of knowledge. The map is a surface of projection and signs. In his essay “My Atlas”, Vilém Flusser compellingly plots the challenges of a map projection that cannot be complete nor without distortion. He tells of the shift of the atlas as a product of representation towards itself becoming an activity of representing: “Not history, but the act of visually transcoding history, became interesting.”  The map’s limitations as well as its involvement in constructing knowledge and history form the starting points from which many of Dvořák’s endeavors begin their journey.

In her recent group of works, “All Lakes are Temporary” (2018), Sophie Dvořák meddles anew with cartographic projections. Topographic maps outlining the terrain of various lake basins are excised from their context and reassembled. The flowing contours of the cut-out formations counteract the cliché of the placid lake, at times veritably dancing on a background of paper that has been saturated with black ink. Yet in other pieces from this series, the deep velvety black unfurls or radiates from these newly construed abstractions of the lake, appearing as a shadow. The title of the series alludes not only to the lifespan of a lake but to the map’s instability, its inability to ever be absolutely current.

Dvořák seizes upon the opportunity offered by the potency of the map being, as Christine Buci-Glucksmann identifies, “immediately both visible and readable”: We see and instantly read the appropriated cartographic elements and then attempt to get a grasp on the sense of scale or to orient ourselves at the “interface of the world”, only to find we have been duped. The artist has emptied the map of its decipherable codes. The only memory of its legends and labels is the mask of black in place of the gaps in information. With this ruse, Dvořák catalyzes a reflection about our gullibility with regard to the authority and authenticity of visualizations of information. 

In a continuation of her yearlong engagement with atlases and maps, Dvořák translates projections of the two-dimensional plane to three-dimensional space in recent plaster reliefs. Cartographic material is manipulated and pressed into wet plaster indelibly embedding fragments of the maps as fossils. Dvořák experiments with plaster and black ink producing objects with fragile geographical surfaces. Fissures, craters and hollows are created during the transformation of map (Landkarte) to landscape (Landschaft). The planned coincidence at work in this series is likewise essential to “Glitches” (since 2016). For these drawings, the artist painstakingly traces a French curve line upon line with a quill. Droplets of ink become trapped between the instrument and the page. The smudges in these flawless seismographic recordings pay tribute to the irregular, the unpredictable, the imperfect.


Melissa Lumbroso




images left  
from the series “All Lakes Are Temporary” 
2018, Collage and ink on cardboard


images right 
Glitches, 2016, 35x25, Ink on Paper





Exhibition View, Gallery Straihammer und Seidenschwann,  2018




Vernissage: Wednesday, November 28, 2018, 7—9pm

On the Exhibition: Watson: Hannah Stegmayer, Author and Artist / Dvořák: Melissa Lumbroso, Albertina

Duration: until February 9, 2019




Current Exhibitions

Karl Vonmetz and H.H. Capor


Vernissage: Wednesday, October 24, 2018, 7—9pm

On the Exhibition: Silvie Aigner, Editor-in-Chief of PARNASS and Lucas Cejpek

Duration: until November 24, 2018




KARL VONMETZ | Desire - Shine


Karl Vonmetz designs sculptures. Even his jewelry pieces were small sculptures that could be not only worn but also set up for display. The artist’s preferred jewelry material was stainless steel, as for him not the material but the ideological value help primacy. For Vonmetz, his works were and are signs and symbols of his communications with people. Over the decades, and with the opportunity to use a large factory as an art studio, his sculptures began to grow and become more spatial. He has, however, remained faithful to the material of stainless steel, making only a few pieces in bronze or copper.

The exhibition gives an overview of the work of Vonmetz, who was first a goldsmith’s apprentice and then studied Metal Design at the University of Applied Arts in Vienna, that ranges from his early smaller sculptures to major works created this year.


1950 Born in Merano.

1965–69 Goldsmith apprenticeship in Merano

1974 Studied at the University of Applied Arts in Vienna

1979 Graduated in Metal Design

1978 Became a member of the Austrian Artists’ Society


Prizes and Awards:

1977 Bavarian State Prize, IHM Munich

1979 1st Place in the Honor Awards design competition of the Vienna Chamber of Commerce

1979 Award for Outstanding Achievement from the Federal Ministry of Science and Research, Vienna

1981 Theodor Körner Award


Numerous exhibitions in Austria and abroad

Works in public and private collections





Abb.1 Dämmerung, 2008, 
Edelstahl gefärbt, 73 x 76 cm 


Abb.2 Atelieransicht







H.H.Capor | Time Travel


The Time Travel project questions the meaningfulness of the guest photo galleries of old grand hotels by creating an irritation in public space. In a performative act of self-empowerment, a portrait of H. H. Capor was added without the knowledge of the respective hotel.

However, the 13 postcards sent to the hotels to notify them of the interventions to their publicly viewable spaces provide no images of the act. The exhibition now shows the locations of the interventions, along with a short video clip of each placement.



On Saturday, November 24th, we will present another of Capor’s projects starting at 5 pm:

The film Places to Die for is – contrary to what the title suggests – not in the least pessimistic. In a way that celebrates life itself, the artist shows places in which he can imagine dying. Each one is intimately related to his life and travels. The film is made up of five short films of about 5 minutes each. They were filmed in 2017 and 2018 by various cinematographers and differ in their imagery. 


Born 1948 in Vienna.

1963-66 Photography apprenticeship 

1967-78 Studied Architecture and Business Management 

1981 Began making art





Rangun und Santiago, Fotografie, 2017





Vernissage: Wednesday, October 24, 2018, 7—9pm

On the Exhibition: Silvie Aigner, Editor-in-Chief of PARNASS and Lucas Cejpek

Duration: until November 24, 2018






Judith P. Fischer and Gottfried Ecker



Vernissage: Wednesday, September 5, 2018, 7—9 pm 

On the Exhibitions: Nina Schedlmayer

Duration: until October 18, 2018



Judith P. Fischer | PILLOWTALK

Judith P. Fischer was born 1963 in Linz, Upper Austria.

She studied sculpture at the University of Applied Arts under Wander Bertoni and graduated in 1991. She lives and works in Vienna and Enzersdorf an der Fischa in Lower Austria.  

Judith P. Fischer’s work addresses the topics of change and transformation.Familiar forms and structures from nature and the everyday environment are placed in a new context. Form, texture, and color play central roles.

Her current series “Pillowtalk”, is about the contrast between the soft, sensual forms that one associates with a pillow and the stringent structure of their artistic manifestation. The bulky and massive forms of these objects are unique, their surfaces ensconced in delicate hand-drawn lines. 

Equally finely structured are her pencil drawings, which originate both in conjunction with the sculptures and on their own. They show an interplay of lines and areas at the junction of abstraction and the harmony of nature.

Fischer’s work can be found in numerous public and private collections.


pillows.4.you, 2018
mixed materials, 40 x 40 x 42 cm


Canola Yellow III, 2018
mixed materials, 27 x 20 x 20 cm



Pillowtalk 2, 2018
Bleistift auf Papier, mixed material
80 x 80 x 29 cm


Studio View








Gottfried Ecker | New works on paper and book sculptures


Gottfried Ecker was born 1963 in Linz, Upper Austria and currently lives and works in Vienna.
Using classic images and design elements, the artist realizes a complex artistic concept.

His works are serene, poetic compositions that could have been inspired by films or scenes from a surreal theater play, and that evade exact definition. 

In Ecker’s new book sculptures, precisely chosen content elements are densified into carefully arranged compositions. The anonymous figures seem to be extracted from everyday reality. This creates spaces located between reality, dream, utopia, and illusion, the mood vacillating between threatening and melancholy.

His multi-part, painting-like formations are reminiscent of the color palette of Baroque painters and show the intense focus of the artist on Baroque painter Poussin in particular.




Studio view


Childhood memory, 2018
book, wood, oils, , 23,5, x 25,3 x 13,5 cm

Untitled, 2017/2018
graphite and watercolor on paper, 25.5, x 15.5 cm


Conversation with the Birds, 2018
book, wood, oils, 18 x 22.5 x 12.7 cm


Vernissage: Wednesday, September 5, 2018, 7—9 pm 

On the Exhibitions: Nina Schedlmayer 

Duration: until October 18, 2018





Franz Xaver Ölzant

Robert Zahornicky


Vernissage: Wednesday, Mai 23, 2018, 7pm

On the Exhibition: Elisabeth von Samsonow and Hartwig Knack

Duration: until June 30, 2018 extended until August 31, 2018



Franz Xaver Ölzant | Interlacings

Throughout a continuous six decades of making art, Franz Xaver Ölzant (born 1934 in Styria, Austria) has consistently prioritized the aesthetic appearance of his pieces over his personal artistic signature. One characteristic that has emerged over the course of his long career as an artist is the fact that Ölzant has always worked with very different materials, for example bronze castings, plaster models, aluminum panels, and wire constructions. Observing his sculptural oeuvre, one sees how the artist has evolved away from figural pieces, made during his time studying at the (former) Academy of Applied Arts, and towards amorphous and vegetative works. A repeating theme that surfaces in Ölzant’s oeuvre is imperfection: Holes, bulges, knots, blemishes, and rips are characterizing features of many of his works. His sculptures, which can be classified as organic abstractions, have become more monumental over the years of his creative work, with his pieces also becoming edgier and more dynamic. This exhibition shows works in bronze and wire together with wall panels from the 1970s to 2011. Also, don’t forget to visit Franz Xaver Ölzant’s large stone sculpture in the public square across from the gallery entrance (O6, 1982, diorite, 80 x 210 x 55 cm, Palais Rottal).




N3, Barockvase, 1979, Bronze,
87 x 81 x 55 cm


E2, Dynamische Ringe, 1980, Bronze, 
49,5 x 34,5 x 36,5 cm

S9, 2002, Zinkdraht, Spachtelmasse,
gefasst, 49 x 110 x 31 cm


W4, 2006, Eisendraht, verzinkt, 72 x 63 x 65 cm






Robert Zahornicky | Photograms

Although the first photograms were made in the mid-19th century, they did not reach the awareness of the general public until the early 1920s. Christian Schad and Man Ray developed their “Schadographs” and “Rayographs”, and Bauhaus teacher Laszlo Moholy Nagy created a theoretical and experimental foundation for this new type of artwork around the same time. Since the photogram technique doesn’t allow perspective views, Zahornicky uses other methods to achieve the impression of three-dimensionality. For his black-and-white photograms made from 1994–2012, the artist often worked with multiple exposures. Grains of rice, thin strips of paper, and clumps of dust are rotated in a series of two or three exposures, which are then superimposed to create an image that simulates several layers of spatial depth.

The dark background often evokes a feeling of endless space. Zahornicky puts this image to use with the series of photograms titled “Cosmos” (2012). The chaotically fine structures seem to float in cosmic distance, yet are nothing other than globs of dirt made of hair, dust, and sundry gunk that gathered under the artist’s bed. The topic of micro- and macrocosms is equally relevant in the “Universe” series from 1994, in which Zahornicky drips water on a glass plate before drawing in it with his finger. Surface tension causes the smears of water to remain, creating the impression of elliptical planetary orbits, yet also evoking images of a microscopic world seen through a microscope.

The visual language of “Rice Photograms” (1994) moves between open spheres where only a few dispersed elements make up the image, from a temporal-processual intensification of the throng of grains all the way to an extreme densification that fills almost the full dimensions of the image surface.

In his two-part work The Molussian Torso (1994), Zahornicky focuses on the human figure. Especially noticeable about this large-format piece is that, in contrast to photography, the photogram technique inverts the brightness values: Bodies appear bright and ephemeral, and light appears dark.



Universum, 1994,
Gelatin silver print, 
Unikat, 20 x 25 cm

Kosmos, 2012, RC-Print, Unikat, 18 x 24 cm

Reis, 9 Fotogramme, 1994,
Gelatin silver print, 
Unikate, ca. 4 x 5 inch


Gelatin silver print, 
Unikat, 20 x 30,5 cm



Vernissage: Wednesday, Mai 23, 2018, 7pm

On the Exhibition: Elisabeth von Samsonow and Hartwig Knack

Duration: until June 30, 2018 extended until August 31, 2018





April 11 to May 19, 2018

Virginie Bailly  

Artist Virginie Bailly is showing new paintings in her second show at Galerie Straihammer & Seidenschwann, created under the influence of Mannerist painters such as El Greco, Di Volterra, and Pontormo. She is fascinated by the colorful light contrasts of these painters, but is also coping with an initial rejection of the Mannerist style.

Contemporary sources of inspiration are equally prevalent in Bailly’s painting, including images of war-torn areas of the Ukraine, of earthquakes, typhoons, and terrorist attacks. And just like Michelangelo Antonioni, who films a building exploding in the desert from various angles in slow-motion, thus imbuing the catastrophic moment with an aesthetic and picturesque feel, Bailly uses filters to “pixelate” her images. 

And so we see that abstract painting must by no means be apolitical.



Interpuncties D31, 100 x70cm, 2016


Interpuncties P43, 160x110cm, 2018

Interpuncties P45, 160x180cm, 2018 

Interpuncties P44,150x130cm, 2018 




Vernissage: Mittwoch, April 11, 2018, 7 pm 

On the Exhibitions: Elsy Lahner, Albertina and Hartwig Knack, Cultural Scientist and Art Historian 

Duration: unti Mai 19, 2018



April 11 to May 19, 2018

Hans Lankes 
Knife Cuts


Hans Lankes is fascinated by space and spaces, light and shadow. He transposes architectural motifs into abstract structures. He creates highly aesthetic delicate filigree images using an exceptionally fine cutting technique, toying with optical illusion and broken perspectives.

By utilizing the parameters of painting and drawing, yet extending them into the room, Lankes creates pieces of art that are on the cusp between graphic design and sculpture. These objects cast shadows on the wall. Not, as expected, in black or dark grey, but instead in different shades of red, or even brilliant green. PARNASS Art Magazine writes: “The delicate cuts of the knife seem to hover on a pillow of colored light.”



Tiny House Society




Quarz 9, 28x18cm Cloud schwarz, 40x18cm Wandwesen 2, 38x18cm


Vernissage: Mittwoch, April 11, 2018, 7 pm 

On the Exhibitions: Elsy Lahner, Albertina and Hartwig Knack, Cultural Scientist and Art Historian

Duration: unti Mai 19, 2018






28 February - 7 April 2018 

Im Dialog der Dimensionen

Giovanni Rindler und Brigitte Trieb


Vernissage: 27 February 2018, 7 - 9 pm 

Giovanni Rindler and Brigitte Trieb will be present.

On the exhibition: Gabriele Stöger-Spevak (Art Historian) and Petra Noll-Hammerstiel (Art Historian)

Duration: 28 February bis 7 April 2018



Giovanni Rindler 

Schwebende, 2014
Originalmodell aus Speckstein
Bronze/Kunststein, 1/3
20 x 42 x 20 com
(Foto: Pfluegl)

Titel 2, 2012
41 x 24 x 25 cm
(Foto: Pfluegl)


Augusta, 2016
Bronze (Alu-Platte), 1/3
58 x 40 x 40 cm
(Foto: Pfluegl)



Blauer Kopf, 2017
Bronze, Alu, Unikat
54 x 44,5 x 10 cm
(Foto: Seidenschwann)


Brücke, 2016
Bronze, Alu, Unikat
20 x 73 x 37 cm
(Foto: Seidenschwann)





Brigitte Trieb 

Zeit der Ernte, 2016
100 x 100 cm

Regen im Frühling, 2016
100 x 80 cm

Kolumbianisches Mädchen, 2008  
70 x 80 cm


Asiatin, 2008
100 x  100 cm


Vernissage: 27 February 2018, 7 - 9 pm 

Giovanni Rindler and Brigitte Trieb will be present.

On the exhibition: Gabriele Stöger-Spevak (Art Historian) and Petra Noll-Hammerstiel (Art Historian)

Duration: 28 February bis 7 April 2018