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Veronika Veit, Sculptures and Objects
Leo Kandl, Photography

20 Oct. — 25 Nov., 2017

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

On the Exhibitions: Margit Zuckriegl, Curator

Duration: until November 25, 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 Wien





On the Tracks of Inevitable Change


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. 


Curator: Margit Zuckriegl



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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








Press Information

Exhibitions Nina Annabelle Märkl and Elfriede Mejchar 

7.9.2017 – 14.10.2017

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Vernissage: September 7, 7 - 9pm

On the Exhibitions: Hartwig Knack, Kulturwissenschaftler und Kunsthistoriker

Duration: until October 14, 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 Wien,



Aggregates and Conditions
Nina Annabelle Märkl

Objects and Drawings


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)



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Ich habe meine Arbeit immer sehr gern gehabt
Elfriede Mejchar



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.



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