Jenny Watson and Sophie Dvořák



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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




Drawings and collages


On the one hand, my work is concrete in what it deals with. I usually work very systematically, within an action space that I — more or less strictly — define myself. The results, however, leave a great deal of openness and encourage interpretation. This can quickly open up an aesthetic moment, because the pictures are appealing and it is possible to see them as beautiful and interesting without knowing the context from which they emerge. For myself, however, in the foreground is the attempt to negotiate the complexities of the world, not in a stubbornly scientific way, but with an artistic and even playful approach.(Sophie Dvorák)

Cit: Seeing the world from above, from a distant, Icarian viewpoint - that is both the reality and the fantasy of every „cartographic eye“. For the map is a familiar and ideal abstract: a surface of projection and signs, where the infinitely large is transferred to a plane, with its multiple connections and interconnections. Any map could be a voyage in thought, connecting a passage and a territory, the readable and the visible, by capturing the infinite within the smallest detail. (Christine Buci-Glucksmann)



born in Vienna, Austria


Study at the Academy of fine Arts in Vienna and at the Glasgow School of Art in Glasgow, Scotland

Degree June 2008


Schule für künstlerische Photographie, Friedl Kubelka






Jenny Watson / Images (Download):



ohne Titel, 2018,
Acryl on fabric









Sophie Dvořák  / Images (Download):


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


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








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


Press Information


Karl Vonmetz and H.H. Capor



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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






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 

1981Began making art






KARL VONMETZ / Images (Download):


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


Abb.2 Atelieransicht







H.H.Capor  / Images (Download):


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