Exhibitions 2019

 

 

Toni Stegmayer und Andreas Rhomberg

 

 

Vernissage
Wednesday, May 29 2019, 7—9pm

On the Exhibitions
Hartwig Knack

Duration
until July 13, 2019

 

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TONI STEGMAYER
BEING AND INTERPRETING

SCULPTURES

 

Galerie Straihammer & Seidenschwann presents new pieces by sculptor Toni Stegmayer. Powerful stone arches, aesthetic infinite loops, and perfectly balanced modular systems represent a significant selection of the sculptor’s oeuvre, which is decidedly independent and concrete, although the artist sees his origins in Wotruba, Hrdlicka, and Giacometti, among others.

Sculptor Toni Stegmayer takes up the topic of pure, interpretation-free art through his pieces. The result is stone sculptures that are almost concrete, that accept their materiality even while repeatedly putting it to the test. This space between experiment and result, between basic material and sculptural form, leaves only a narrow sliver of room for chance. And yet the works are astonishing, because they elicit the perception and knowledge of the viewer, who is drawn into the process of creation.

What the viewer sees is what exists; what is called for is not interpretation, but consideration of basic sculptural questions.

Artist, artwork, and viewer are essential aspects of reception. If a message is to be delivered through art, it must be interpreted as intended. Hermeneutics of all types has a long tradition of exploring approaches to artwork that is meant to be understood — and understood as intended by the author or artist.

Figurative art dictates what one sees. Context and artistic viewpoint convey the meaning. Spiritual art gives form to the unseeable. Non-objective, concrete art showcases materials, drawing the focus to structures, systems, and rhythms. The qualities of what is directly present become the topic: weight and mass, size and proportion, shape and surface, area and body, space and volume, tension and relaxation. All of these make up the existence of the art itself. It has the greatest possible autonomy, is free from speculation and interpretation, hides no secrets, but instead shows itself exactly as it is: open, clear, understandable, and pure.
This creates its beauty.

The presence of pure art is a statement in itself — about information and perception — and is therefore more relevant than ever. 

 (Written by Hannah Stegmayer)

 

 Biography

Trained as a stone sculptor, Toni Stegmayer has lived and worked in Kiefersfelden since 1957, and as a freelance sculptor and video artist since 1984. He has worked with George Brecht, Francesco Conz, Ben Patterson, Emmett Williams, and Geoffrey Hendricks, among others, and together with Hannah Stegmayer as the H+T Stegmayer art team. He has been a lecturer at the Academy of Fine Arts Kolbermoor since 2016.

 

Awards and Grants

2014/15 Artist in Residence: Emily Harvey Foundation, Venice 

2006 Tirol Science Fund (TWF) Grant (book project)

2005 Artist in Residence, Factory/Kunsthalle Krems (A) 

1982 Scholarship for the Highly Talented from the Federal Ministry of Education and Science; 1st Place from the Danner Foundation for Building and Design, Munich

 

 

 

 

   

top left Bogen, 2019, Belgisch Granit, 111 x 38 x 14,5 cm 

top right  CURVE, 2018, Muschelkalk, 27,5 x 35,5 x 10,6 cm

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bottom 
Bardiglio #2, 2018/19, Stein, 32,5 x 37,5 x 37,5 cm | Bardiglio #3, 2018/19, Stein, zweiteilig, je 25,2 x 30,8 x 10 cm

 

  

 

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ANDREAS RHOMBERG
PAST GRANDEUR

PHOTOGRAPHS

 

 

Images of ruins most often represent the sober reality of conflict, natural disaster, and economic abandonment. But the way we perceive ruins is not as objective and uninfluenced as we might initially think. 

The literary and visual representation of ruins has a long tradition. Our lust for ruins — which has informed European painting and literature since the 18th century, peaking in Romanticism — goes from Virilio to Marchand & Meffre and on to cultural reflections on modern ruins that are not as easy to transform into aesthetic or nostalgic niceties. 

Most people find themselves moved by ruins and abandoned buildings or structures on a visceral emotional level; it is no accident that the pyramids, the catacombs of Paris, and Angkor Wat are visited by so many. From individual stones and buildings to entire cities, these abandoned legacies are snapshots of the past. These orphaned sites also inspire our imaginations in ways that go beyond a simple representation or sober documentation of history.

The works of Andreas Rhomberg feature vacant buildings and abandoned sites in the European region. There are photographs of factory ruins and palaces in various states of decay, isolated former public institutions such as hospitals and hotels, a disco that burned decades ago, or details from bedrooms that seem to have been recently inhabited. Many photos reveal a delicate sense of intimacy, showing forgotten interiors that retain traces of previous owners or floral elements of a sagging ceiling, while other photos show the cool, futuristic scenarios of industrial ruins. Some works seem carefully composed and have a sense of narrative and dramatic tension; composition, light, and processing transform old factories and dilapidated interiors into staged physical narratives.

Finding and photographing these subjects is not just about traveling, it is an urban archaeological quest for unseen places. The works are about architectural photography and urban exploring and, as such, are not to be seen as a direct attempt at reconquering urban spaces. Nevertheless, finding, exploring, and photographing abandonment can’t help but redefine the meaning of public space. Studying, preserving, and staging decay; visualizing former societal landmarks and symbols and they ways they change.

In times when the rapid pace of urban development, and so much else, continues to increase, these images succeed in drawing our attention to social reality in its artistic form. In this sense, Andreas Rhomberg is also a social documentary photographer. His pictures convey a great deal about all or about nothing, about life in the face of capitalism, waste, and neglect — all the immediate principles of our society, with or without crisis. As a result, these images can also be understood as an excellent and artful criticism of capitalism itself. (Written by Andrea Strasser) 

 

Biography

Andreas Rhomberg, born 1977 in Dornbirn, lives and works in Vienna as a graphic designer, photographer, and DJ. 

He studied at the Höheren Grafischen Bundes-, Lehr- und Versuchsanstalt in Vienna and has worked at several international advertising agencies as a graphic designer and art director.

 

 

 

 

   
 
     

top  Botteleria, 2014-2018, HDR Technik, 80 x 120 cm

bottom left  Roundabout, 2014, HDR Technik, 80 x 120 cm

bottom right  Legno teatro, 2014-2018, HDR Technik, 80 x 120 cm

 

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Vernissage
Wednesday, May 29 2019, 7—9pm

On the Exhibitions
Hartwig Knack

Duration
until July 13, 2019

 

 


 

 

Nina Annabelle Märkl and Elmira Iravanizad

 

Vernissage
Wednesday, April 17, 2019, 7–9pm

On the Exhibitions
Nina Schedlmayer

Duration
until 25. May 25, 2019

 

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NINA ANNABELLE MÄRKL
MORPHOSES
OBJECTS AND DRAWINGS

 

Nina Annabelle Märkl creates drawings, sculptures, and installations with continually transitioning media and perspectives. It is observation that makes a drawing into a sculpture or space, or turns a sculpture in an installation into part of a drawing. 

The artist creates intermediate states that show things in their possible forms — similar to a kaleidoscope — developing images and spaces that challenge the observer’s perceptual habits by creating stimulation and thus opening up sensual new possibilities to contemplate the things that exist in our world.

Shapes that initially appear to be abstract are actually elements that create a bring relationship between the observer and the drawing. These objects can be understood as spaces, landscapes, plateaus, outsourced displays of human emotion that then become part of the narrative. The images and arrangements suggest ideas regarding the permeability of humanity and its circumstances, people’s external and internal spaces, with an approach that is observational, selective, inspirational, and motivated by bringing things together. The simultaneity of opposites — proximity and distance, permeability and delimitation, creation and dissolution — is a determining criterion of Nina Annabelle Märkl’s work.

The images, whether an installation, arrangement, or drawing, stimulate the viewer, reveal something new, and trigger questions.

Biography

Born on 12 December 1979 in Dachau, Germany

01/2015–03/2015 
Artist in Residence Scholarship in New York City, International Studio and Curatorial Program (ISCP) 

2011–present 
Teaching drawing at the Academy of Fine Arts Munich

08/2010—10/2010
Artist in Residency Scholarship in Düsseldorf, Pilot_Projekt für Kunst e.V.

08/2009—10/2009
Artist in Residency Scholarship in Szczecin, Poland
European Art Fellowship Upper Bavaria

02/2009 
Diploma of Free Arts, Academy of Fine Arts Munich

10/2008 
First state examination in Art Education, Academy of Fine Arts, Munich 

10/2005—02/2009 
Study of Fine Art (Sculpture), Academy of Fine Arts Munich, Prof. Stephan Huber

02/2002—10/2005 
Art Education studies, Academy of Fine Arts Munich, Prof. Fridhelm Klein, Prof. Matthias Wähner

 

 

 

   

top

Antike-Applikationen, Shifting Perceptions, 2018/2017
muc 15–Tusche und Bleistift auf Papier 36,5 x 28 cm

 

bottom

Frames_2, 2018
Tusche und Bleistift auf Papier 8 mm Vierkantstahl geschweißt Magnete, Nägel ca. 150 x 100 x 3cm

 

 

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ELMIRA IRAVANIZAD
GATE
OBJECTS

 

Originally from Iran, Elmira Iravanizad now lives in Berlin and creates art set subtly on the verge between painting and sculpture. The often almost monochrome image surfaces of Iravanizad’s paintings are often broken by color and shape formations that imbue the images with structure and accentuation. At the same time, sculptures with forms that could have been extracted from painting emerge. They seem to grow out of a wall, or lie prone on the floor, detached from any reference. The sculptures are usually made of metal and ceramic, a combination of two very different materials, with the ceramics often assuming a nearly flowing character. The objects, once mostly black, have been increasingly infused with bright yellow since Iravanizad’s arrival in Berlin. For the artist, this color represents the cultural differences between Iran and Germany. 

 

– 

Biografie

 

Born 1987 in Tehran. Lives and works in Berlin.

2014—2016
Postgraduate studies at the Berlin University of Arts. 

2011—2012
MA of Fine Arts, Sir John Cass Faculty of Art, Media 
and Design, London Metropolitan University. 

2007—2011
BA in Painting, Faculty of Fine Arts, Tehran University.

 

 

   
 

top right Objekt Nr. 7, ca.20x40cm, Foto: Friedhelm Hoffmann

top left Objekt No.21, Laquered ceramic, 38x26 cm, 2019, Foto: Parham Mortazavian

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bottom Objekt Nr. 20, Lackierte Keramik, ca. 56x31x20cm, 2019, Foto: Parham Mortazavian

 

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Vernissage
Wednesday, April 17, 2019, 7–9pm

On the Exhibitions
Nina Schedlmayer

Duration
until 25. May 25, 2019

 

 


 

Robert Bodnar and Elfriede Mejchar

 

Vernissage
Wednesday,  27 March 2019, 7–9pm

On the Exhibitions
Bodnar: Angela Stief
Mejchar: Alexandra Schantl

Duration
until 13 April, 2019

 

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ROBERT BODNAR
BINARY RESTRAINT
Photographs And Objects

 

 

“Photography” is a phenomena that is becoming increasingly intangible and incomprehensible in this day and age. The days of defining a photograph as a printed image on a sheet of paper are long past. Photography today is a ubiquitous technological principle, a social behavioral mode, and much more. 

With Robert Bodnar, Galerie Straihammer and Seidenschwann presents an artist who is continually redefining the boundaries of photography.

Robert Bodnar explores new technical and conceptual forms of photography and photographic images in relation to human perception. By using hi-tech industrial materials and methods, he expands the definition of the photographic image and what it can represent. A “Digital Intermediate”, he follows the transition from analogue to digital and the transformation from digital to computational photography. He combines the traditional methods of photography with sophisticated digital technologies.  He transfers photographic processes into real spaces to create installation art experiences.  The conceptual reference points of the Binary Restraint series are raster, light, and perception.  The pictures and installations playfully reference the origins of photography in the silver salt crystals of analog film, as well as current forms of images as abstract information embedded in the circuit boards of our electronic devices.

Bodnar’s historical canon ranges from photograms to Photoshop copy stamps. He makes the materiality of digital structures tangible, expanding the possible range of how photographic images can manifest.

Johan Nane Simonsen

Biography

Born 1980 in Prague, Czechoslovakia

1991-1998 Secondary school in Vienna

1999 Studied Journalism and Communication Sciences at the University of Vienna (AT)

2003-2011 Studied Photography and Film at the Academy of Fine Arts, Vienna 

under Eva Schlegel, Matthias Herrmann, and Harun Farocki

2011 Graduated in Art and Photography under Matthias Herrmann (AT)

2003—present Numerous exhibitions and lectures at home and abroad

 

Lives and works in Vienna and Lower Austria.

 

 

Images (Download):

 

 
   
   

top left 
autochrome study #1, 2018
Lackiertes Birkenmultiplex-Sperrholz, Geschweißtes Stahlgestell, Pflanze, Lightjet C-Print auf Duraclear

 

top right 
clonebrushed firmament #1; aus: [Cloning Toolbox], 2017
Kupfer-Fotolithografie auf Epoxydharz-Glasfaser-Gewebeplatte [FR4], Rahmen

 

middle 
Verschiedene Fotolithografien auf Epoxydharz-Glasfaser-Gewebeplatte [FR4] 
„Yellow Darkroom“, Fotogalerie Wien, 2018

 

bottom
self-similar object #1_1, 2018
Fotogramm, Vergoldete Kupfer-Fotolithografie auf Epoxydharz-Glasfaser-Gewebeplatte [FR4], Rahmen

 

 

 

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ELFRIEDE MEJCHAR
ZUM 95. GEBURTSTAG

 

The oeuvre of this great Austrian photographer is extensive and varied. Much of her work is regarded today as an icon of Austrian post-war photography and it has become an important testimony of the era.

Over the course of her decades of professional life — first as a photographer for the Federal Monuments Office and, after her official retirement, for the TU Wien as a photographer of industrial monuments — she always took a close look at everything else that came across her path, from car wrecks to hotel rooms, from wood huts to traffic mirrors. With her superior alertness, Elfriede Mejchar has recorded and brought to life what would seem insignificant or even ugly, the traces of humankind in nature and in urban space. Not to mention her exceptional photos of tulips and amaryllis. Here, too, she found the decisive point of view to take the observer beyond the façade of superficial beauty and to discover something sculptural.

The exhibition shows a selection of her extensive work.

Biography

 

Born 1924 in Vienna.  

1941—1944 Photography apprenticeship and assistant certification in Germany 

1958 First camera 

1960 Master craftsman certification at the Graphischen Lehr- und Versuchsanstalt in Vienna 

1947 Started at the Department of Historic Monument Research, later employed by the Federal Monuments Office, projects throughout Austria. 

1954—1961 Photographed numerous artists in their studios and workshops. 

1984 After retiring, freelance photography work and from 1984—1994 for the TU Wien, Institute of Art History, Building Archaeology and Restoration.

 

 

Images (Download):

 

 

top 
aus der Serie Simmeringer Heide und 
Erdberger Mais Blick auf Gasometer,
11. Bezirk Wien, 1967-76

 

middle
aus der Serie Stiegenhäuser, Graz
ohne Jahr

 

bottom
ohne Titel, 1997

 

top
aus der Serie Simmeringer Heide und 
Erdberger Mais, 3. Franzosengraben, 1967-76

 

bottom
aus der Serie Verseltsamte Stillleben, 1988 - 1990

 

 

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Vernissage
Wednesday,  27 March 2019, 7–9pm

On the Exhibitions
Bodnar: Angela Stief
Mejchar: Alexandra Schantl

Duration
until 13 April, 2019

 

 


 

 

Virginie Bailly und Krasimira Stikar

Vernissage: 

Thursday, February 14, 2019, 7—9 pm 

On the exhibitions: 

Bailly: Elsy Lahner, Albertina

Stikar: Hartwig Knack, Art Historian and Cultural Scientist

Exhibition duration: 

until March 16, 2019

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VIRGINIE BAILLY
DAPHNES REQUEST
Paintings

 

Belgian artist Virginie Bailly will exhibit her latest works at Galerie Straihammer und Seidenschwann for the third time.

Titled Daphne‘s Request, the exhibition is an exploration of Greek mythology, based on a dream in which the artist was transformed into a tree.

With broad brushstrokes and grand gestures, the artist translates her thoughts into painting. She paints exclusively in oil, preferring glaze techniques to give the subject ample brilliance and depth. Some of the elements — agglomerations of brushstrokes and splotches of color — seem to want to take on a whole new state of being from one moment to the next. 

Bailly’s abstract paintings portray a dialogue between dream and the real world, fiction and reality, inside and outside, emptiness and abundance.

She creates organized chaos, using it to grasp incredibly dynamic tensions through the paintings.

 

Biography

Born in 1976 in Brussels

1993-1997 Studied Painting at the Ecole des 

arts d‘Anderlecht 

1998 Studied at the Ecole Supérieure des Beaux-Arts Montpellier (FR) 

1995-1999Studied Painting at the Hogeschool 

Sint-Lukas Brussels 

2000-03 Postgraduate studies at the Hoger Instituut voor Schone Kunsten, Antwerp 

 

Lives and works in Brussels.

 

 

Images (Download):

 

Images

left:
Apendix P1, 2018, 90 x 115 cm

Oil and mixed media on canvas

right:
Daphnes Request P2, 2018, 

80 x 60 cm
Oil and mixed media on canvas

bottom:
Aberratie P2, 2018, 70 x 60 cm

Oil on canvas

 

 

 

 

 

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Krasimira Stikar
PUNKT – GEDANKE – FLÄCHE
Drawings

 

In her new works, created in 2018, the Krasimira Stikar delves into an exploration of movement, statics, time, and space. Lines and surfaces cover the sheets. The lines grows out of a point, the most original form of representation, they are the tracks of a moving point. These lines are born out of movement, and, as Roman Signer, Explosion (Line), 1982, puts it: “from the destruction of the absolute self-contained serenity of the point.”

 Using points, lines, and symbols, we are brought to a plane of imagination that goes beyond rational thinking. Points and lines connect to supply information. Spaces and surfaces are created by means of points and lines situated on a two-dimensional surface. The abstract is transformed into something concrete and vivid. Things that are not sensory are made observable, analyzable, and reflective.

 The artist takes a great amount of time, quiet thinking, and contemplation to create these sensitive aesthetic works. This calm concentration seems to wash over the observer when looking at the pieces.

 

Biography

1980 Born in Ruse, Bulgaria

2002 - 2005 Studied Computer and Media Art at the Academy of Fine Arts Vienna, graduated 2005 Mag. art.

1999 - 2002 Studied Animation at the New Bulgarian University, Sofia

1995 - 1999 Nedka Ivan Lazarova fashion school, Ruse

 

Lives and works in Vienna

 

Images (Download):

 

Abbildungen

links:
WEITER GERADE AUS, 2018 

Bleistift auf Papier, 70 x 100 cm

rechts:
Richtung wechseln, 2018

Bleistift auf Papier, 100 x 70 cm

unten:
Schwerkraft blau, 2018

Acryl auf Papier, 70 x 50 cm

 

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Vernissage: 

Thursday, February 14, 2019, 7—9 pm 

On the exhibitions: 

Bailly: Elsy Lahner, Albertina

Stikar: Hartwig Knack, Art Historian and Cultural Scientist

Exhibition duration: 

until March 16, 2019