Galerie Straihammer und Seidenschwann present starting June 7, 2017:

Jenny Watson Other Lives and On the Edge of Something by K.U.SCH Renate Krätschmer and Sito Schwarzenberger

Introducing Viennese artist collective K.U.SCH (Renate Krätschmer and Sito Schwarzenberger) and Australia-based artist Jenny Watson: Galerie Straihammer und Seidenschwann is exhibiting two artistic positions on text and lettering starting June 7, 2017.


Exhibition Opening: 7 June 2017, 7 – 9 p.m.
Opening: Hartwig Knack
Renate Krätschmer and Sito Schwarzenberger of K.U.SCH. will attend.
Exhibition duration: until 9 September 2017
Tues. – Fri. from 12 – 6 p.m., Sat. from 11 a.m. – 3 p.m.
Location: Galerie Straihammer und Seidenschwann, Grünangergasse 8/3, 1010 Vienna,


In their upcoming exhibition, Galerie Straihammer und Seidenschwann will show works by K.U.SCH. Renate Krätschmer und Sito Schwarzenberger and Australian Jenny Watson in the charming “croissant house” gallery in Vienna’s old town. These two artistic approaches address the relationships between art, text, and lettering or symbols. 

Jenny Watson

Born 1951 in Melbourne, Jenny Watson was inspired by the early works of US-American concept artist Joseph Kosuth and began an examination of the problems of sensual perception – of reality, identity, and the definition of an object – in the early 1970s. At the latest since 1993, when she represented her country at the Biennale in Venice, Watson has been one of the most prominent artists from the Australian continent exhibiting internationally. The distinctive aspect of her work is the combination of painting, text, and object, as well as the interaction of humor, irony, and simple yet striking subjects. Using the simplest of components – unprimed textiles, figures left in aesthetic rudiments, and hand-written short texts – Watson creates complex stories from her figurative images, which are on the one hand provide a feminist and social critique and on the other hand always allow diary-like personal insights of her life and can be interpreted as being self-referential.

The works on display are paintings and text panels, although the text and image are seemingly joined only visually. The paintings do not illustrate the text, and the text does not explain the images. The texts and the images diverge as far as possible in Watson’s work. Watson is on the one hand familiar with concept art pieces and, on the other hand, integrates banal personal aspects of everyday life into her art.


K.U.SCH. Renate Krätschmer and Sito Schwarzenberger

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. 

In a floor piece that has conquered part of the wall of the exhibition space, Sito Schwarzenberger has arranged various symbols, signs, text fragments, and found objects to create a superordinate whole. For K.U.SCH, ambivalence, association, and opposites belong fundamentally together. Things that may have nothing to do with each other at first glance actually need each other at the end of the day. This is idea behind the Gesamtkunstwerk that K.U.SCH has always worked towards: The connection of art and life into one.

Rhythm, dynamics, and movements are constitutive characteristics of Renate Krätschmer’s drawings and objects.  Her self-portraits, chaotically condensed pencil strokes, sometimes reduced to almost nothing more than a symbol, provide intimate insights. Other sheets show rhythmically active abbreviations of figures drawn with colored pencils or with a calligraphy brush, which the artist brought into the third dimension in a model in 2013. These “Rhythmic Gesticulation Abbreviations” show the abstract movements of dancers and are dramatically presented in a cube-shaped arrangement like on a theater stage, one behind another. Looking through the different layers, different perspectives emerge, spatial densifications here, open structures there.



Short bios

Jenny Watson was born inMelbourne, Australia in 1951. She graduated in Painting and in Educational Sciences in Melbourne and exhibited her work for the first time in Australia in 1973. Her works have since been shown in over 100 solo exhibitions throughout Australia, Europe, India, New Zealand, and the USA. In 2017, she has already exhibited in Vienna, Sydney, and Reykjavík, Iceland. She was a guest at the Venice Biennale in 1993. Watson has also participated in several hundred group exhibitions and purchases in public and private galleries around the world. She currently divides her time between Brisbane, Australia and Europe. 

K.U.SCH. (Founded by renate Krätschmer Und Jörg SCHwarzenberger in 1972; with Sito since 2006): Renate Krätschmer and Jörg Schwarzenberger were both born in 1943 in Vienna, where Jörg Schwarzenberger passed away in 2013. Sito Schwarzenberger was born in Graz in 1976. K.U.SCH live and work in Vienna and Krems. 

The artist collective sees their interdisciplinary work as an expanded concept of art and as “conceptional Dadaism”. Their oeuvre encompasses object art, space installations, correspondences in open (natural) terrain, interventions in public (urban) space, films, texts, performative work in the direction of a Gesamtkunstwerk or a specifically developed form of processional theater and then of catwalk theater. Contact to Fluxus, Arte Povera, and the international Mail Art Movement since 1971. K.U.SCH became co-founders of Falter magazine in 1977.

Numerous scholarships and study programs brought K.U.SCH to Rome and Paliano in Italy, to Japan, the Netherlands, Uruguay, and multiple times to China after 2004. 

The first procession theater was produced in 1988 for the first Danube Festival in Krems, and then again in 1992 for the Albertina Graphical Collection, among other occasions. K.U.SCH staged their Catwalk Theater on the Danube Island of Vienna in 1996, at Lengenfeld Castle in Lower Austrian in 2000, and in 2002 at the Kabelwerk in Vienna and the Klangraum Krems. Non-Stop-Shopping-Theater was performed in the Krems pedestrian zone in 2005, Funken Soundwhich in 2009 at the Wachtberg near Gars am Kamp, and Wetlands at the EVO-EVO exhibition at the Vienna Künstlerhaus. In 2010, the FLEXATIV performance was created to accompany the Waber Retrospective and Companions exhibition at the Leopold Museum in Vienna, and numerous similar projects were performed in Berlin, Vienna, and Lower Austria. 

Since 1970, K.U.SCH has shown their work in dozens of solo and group exhibitions in Vienna, Graz, Linz, Salzburg, Taiwan, Berlin, Cracow, St. Pölten, Nanjing, Beijing, Tulln, and Krems; for example in the Neue Galerie of the Joanneum Museum in Graz, at the Vienna Secession, at the Nanjing Shenghua Arts Center, in the RCM Gallery of Nanjing in China, the Vienna Künstlerhause, and at ZEITKUNST N.Ö. in St. Pölten.  

In 1995, K.U.SCH received the Lower Austrian Award for Outstanding Achievements in the Fine Arts.


Press photos (downloads):




Presse Information


Exhibition of artwork by Toni Stegmayer and Krasimira Stikar
April 27 to June 3rd, 2017


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Mental Rotation 
Toni 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.




Movement and Standstill 
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, 7.00 to 9.00 pm

Location: Grünangergasse 8, 1010 Vienna 
Opening hours: 
Tues – Fri from 12 to 6 p.m., Sat from 11 am to 3 pm 

Exhibition duration: April 27 to June 3rd, 2017

We are looking forward to your visit and kindly request an R.S.V.P. or article!

For more information: Roswitha Straihammer, 
Press photos: available for free use ONLY in direct connection to reporting on the exhibitions.


Presse Information

Exhibition of artwork by Magnus Pöhacker and Anna Khodorkovskaya
March 9 to April 21, 2017

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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.


Wächter 2012/2014, Bronze 3/3, H 207 cm


Kleiner gestürzter Falke, 2010 Bronze 3/3, H 30 cm


Starke Bewegung, 2000,
Bronze 3/6, H 38,5 cm



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.



Untitled, aus der Serie Bruchstücke, 2016, 70 × 110 cm


Untitled, aus der Serie Bruchstücke, 2016, 70 × 110 cm


Untitled, aus der Serie Bruchstücke, 2016, 70 × 110 cm



Vernissage: Wednesday, March 8, 2017, 7.00 to 9.00 pm

Location: Grünangergasse 8, 1010 Vienna
Opening hours:
Tues – Fri from 12 to 6 p.m., Sat from 11 a.m. to 3 p.m.
Exhibition duration: March 9 to April 21, 2017

We are looking forward to your visit and kindly request an R.S.V.P. or article!

For more information: Roswitha Straihammer,
Press photos: available for free use ONLY in direct connection to reporting on the exhibitions.