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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, www.galerie-sunds.at

 

 

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

Photography

 

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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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.

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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, www.galerie-sunds.at

 

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.

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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.

 

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Watson