www.susakpress.com
studio1.4 GRAZ: 26.01.2012 ARTANDTRADE PAPIERFABRIK
ViennA: 28.01.2012 EXTERRITORIAL
www.studio1-4.com
GRAZ: 26.01.2012 ARTANDTRADE PAPIERFABRIK
Vienna: 28.01.2012 EXTERRITORIAL
STUDIO1.4 www.studio1-4.com ARTANDTRADE
www.exterritorial.at EXTERRITORIAL
www.exterritorial.at
studio1.4 GRAZ & VIENNA Andrea Bold Anne Greuzat Anton Horvatovic Aya Fukami Ayumi La Strong Daniel Devlin David Brock David Ender Dominic Appleton Grant Mclean Hermann Fink Herzog Dellafiore Janko Matic Jay Cloth Karl Gr端nling Kate Lyddon Lucija Stojevic Marcus Cope Mark Woods Oskar Kokoschka Peter Seewasser Romina Dusic Salazar Quas Stephanie Moran Thomas Redl Yuka Shinohara
www.susakpress.com
Oh Vienna! Whereas the Turks (having thankfully sent coffee on ahead) were stopped proverbially at the gates of Vienna the artists of studio1.4 were smuggled in through the back door (via Graz) by those anatomisers of Austrian society – Schiele, Bernhard, Doderer and yes even Mozart (read those diaries). You don’t have to despise bourgeois society to be an artist but it helps…. (the origins of a colony) A meeting point, the crossing (out) of empires – recession/Secession – when is art not a dialogue of misunderstandings? And so first in Graz we circle - non-sensically, unceasingly on migration via Google Earth – no stork descending (or dove!) but the eye of someone else’s camera - down to the Steinfeldhaus looking for someone we know. Almost hidden behind a containered hedge a table of women in light strapped tops huddle over a meal, bags lassoed over the arms of adjacent chairs. While scattered more sparsely and as far away from each other as can still be polite, silent pairs sit facing each other and lean back or crouch forward according to the stage in their unheard conversations. But the mostly furled umbrellas over empty tables, orange menu cards waiting to be of use; on grey wood decking suggest the party hasn’t remotely started… or the midday sun has gone from this quarter of the square. So now wheeling toward Vienna where other Rings might reveal a point of origin at least….
Down to Naschmarkt and a stern blonde (arms folded against the cold and a pinklypatterned silk scarf tucked in and around her neck) walking past a falafel stall. I’d like to report a swarthy man pocketing oranges from a box but he’s the stall holder and he’s arranging his display….Spices, yams and even manioc I think and wasabi peas… and a voluptuously hooded woman clutching the arm of a tall man with his hand/gun in his pocket and cheap-looking-but-definitely-not leather, looks half ahead at us as though she hadn’t quite wanted to catch my eye but was not quick enough in turning away or looking down (maybe at the trainers of the stern blonde with her arms folded who’s just passing). Through a screen darkly…. Good for you… these faces seen through glass, these unbearable conversations: what are they plotting, these serious bald men in overcoats (and it is the men)…. And only now you notice that all the stalls on one side of the market have striped blue awnings and all those on the other striped red. And this inescapably brings a moment of fear that is almost dizzying. But oh the nightlife – and Jay and Kate and Dominic dancing with middle-aged ladies in cat’s ears and leopardskin ? ‘So much is past and gone, to our dismay, And beauty shows the frailest power to stay.’ Heimito von Doderer, ‘The Strudlhof Steps’ Keran James
Nabel
Andrea Bold & David Ender Andrea Bold came from Cologne to Vienna via New York and has since been active in the fields of performance, classical piano playing, motherhood and gardening. Founded Tanzverein Erdberg, teaches at Bruckner University in Linz. Especially interested in soups, adulation, jumps, and purple coneflower. Recurringly dealing with the question how an eye for the whole might work without staring. David Ender comes from Wodonga and used to grow cacti and succulents until he also wanted to eat what he raised. Nowadays specialises in pumpkins and hardy exotic plants. Sometimes tries to play three pianos at the same time, fully aware of the fact that one is more than enough. He is not an expert in many fields, among them eighteenth century picaresque novels, variations of pork cutlets with rice, and whisky. Likes coleslaw and Guinness, too.
Anne Greuzat - Sans titre II
Anne Greuzat www.annegreuzat.com Anne Greuzat was born in 1979 in Paris, France. She lives and works in Brussels. Graduated from the Ecole Nationale Supérieure de la Photographie in Arles (France) in 2007, she is working with photography and video. Her work mainly deals with lanscape and melancholia ; with a form of silence necessary for contemplation. Anne Greuzat is currently director at the Valérie Bach Gallery, Brussels, Belgium.
Where Have You Been? [oil on canvas, 25 x 25 cm, 2012]
Creation of the State [oil on canvas, 25 x 25 cm, 2012]
No More Bad Days [oil on canvas, 25 x 25 cm, 2012]
Burning [oil on canvas, 25 x 25 cm, 2012]
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Anton Horvatovic www.antonhorvatovic.com
Anton Horvatović was born on February 18th, 1976 in Rijeka. In 2000 he accomplished his painting studies at Accademia di Belle Arti in Urbino. Currently lives and works in Bruxelles.
In this moment two shadows, delineated behind him by the cross’ arms, leaped forward. And gave birth to an apparition resembling two large horns; Anthony cried out: Protect me, oh God, and the Shadow returned to its former place. (...) The Temptation of Saint Anthony by Gustave Flaubert
THE TEMPTATION OF ANTON THE PAINTER In Flaubert’s novel The Temptations of Saint Anthony, an imaginary - from a “shadow” position - follows the portended temptation of Painting. In the same way, the imaginary of Anton Horvatović’s works comprises temptations from the lurking antique myths and mysteries of entire Mediterranean.This imaginary includes many, from goddess Diana with her lions, dogs and deer to Orphicists and Hellenistic-Roman Gnostics to modern pre-figurations of ancient paintings and questions, seen through readings pieces by Thomas Stearns Eliot (Wasteland, Four Quartets....), mystical considerations on synesthesia, composing, the “mimesis” of music, dance, drama in paintings (Goethe and Steiner, big art names from and around Bauhaus circle, and our own Croatian master Šebalj). There are also Nietzschean, Pavesean, DeChiricoan, psychoanalytical reflections on questions of fear, Eros, death, temptation and redemption – on this occasion in time “after” the return(s) of the same - such as for example in works by Italian transvanguardists, German painters such as Baselitz, Immendorf, Merz, Kiefer, Young British Artists and the 1980s Croatian postmodernism. Anton H. brings his own peculiar path to conflict between ascetic and lascivious solutions (extremes, radicalism) in recent and contemporary painting. In the same time he does not renounce possible references and heritage of Symbolism, Metaphysical Painting, Magic Realism, nor does he give up the reading pieces by Goethe, Dostoyevsky, Eliot, being
aware of new figurative masters’ (not exclusively New Figuration) existential and aesthetic contributions towards ethos and teleology of Painting, as well as to the gnosis, soteriology, eschatology of Painting today. Without knowledge on Faustus and Mephistopheles, on Snake and initiatory visions and temptations, on myths about Hero, Original Sin, crucified snake (on cross), a symbol of snake with Gnostics and Alchemists, that were always again thematized and re-examined by the tradition of symbolism and surrealism, one could hardly – except unconsciously, intuitively – initiate him/herself into the mystery of the scene.. Branko Cerovac, extract from the catalogue “ANTON HORVATOVIĆ / PREKO RIJEKE”
Aya Fukami www.ayafukami.co.uk What is always there with us? What is “absolute”? Against the notion of trend and ‘new-ness’, I am interested in the idea of a ‘fresh-ness’ rather than the idea of constant updating. In three exhibitions spanning Vienna and Graz, I will present three different works all linked by the idea of measurement. “Length/Time/Weight”. The works employ a process in which I poetically choreograph made and found forms, working with colour and weight, where simple and chaotic rhythms encounter those defining measurements tools.
Clock [2011 100x100x100cm chicken wire, acrylic and oil on card board, print with acrylic]
Ruler man [2011 130x20x10cm graphite on paper, clips]
Just Begin, Daniel Devlin! www.danieldevlin.co.uk ‘One must not spend time doubting, one must just begin’ is the opening slogan for one of Daniel Devlin’s films, and yet Devlin never really begins any art. In fact, Devlin habitually avoids making any art, preferring rather to languish in the Ur stages of the art process. He frets not about what artwork he will make but rather indulges himself in neurotic self-analysis about what art itself is. In the video Conversation, Devlin and his Doppelganger (the artist plays both characters) sit around drinking coffee, one of the Devlins boring the other with rhetorical questions regarding the definition of ‘art’. Devlin 1 ponders one such definition he has read as ‘culturally significant meaning skilfully encoded in affecting sensuous medium’, a phrase he muses over until he drives Devlin 2 so crazy that he throws a glass of water over him. With a background soundtrack of canned audience laughter, booing and hissing, the philosophical questioning here is reduced to the slapstick humour of an American sitcom. Devlin is not really interested in finding answers; if he were, then he would have to get on and make some art, not lazy conversation. Devlin is a self-confessed cynic. His videos are full of references to belief, and more specifically his inability to believe in himself as an artist or really to believe in art. He suggests that if he might only pretend to act like an artist, he might successfully pull off the illusion of being, or at least feeling, like an artist. In Window Tate, for example, Devlin Photoshops his name over the entrance to Tate Modern, replacing for a brief moment the existing exhibition banner for Frida Kahlo. He has also created a bogus magazine advert publicising the upcoming Recent Paintings exhibition of Herzog Dellafiore, a fake artist created once again by Devlin. In both cases, he neatly sidesteps the responsibility of making his own work, in the first instance allowing his name
on the exhibition banner to stand in for any real exhibition, in the second passing off a badly disguised Bruce McLean painting as his, or rather his pseudonym’s, own. Each time, Devlin conceives of a seductive and plausible decoy to deflect the attention of the audience away from the gaping absence of his own work. Devlin is, then, an expert in making meta-artworks: objects and statements that explain art or function as its accessories or souvenirs, but can never be taken for the artwork themselves. He has even created his own wikipedia entry with links to his publishing company Susak Press and Susak Expo, an annual ‘art event’ on the Croatian island of Susak initiated by Devlin last year, and which, despite the grandiose internet statement (since erased) favourably comparing the latter to the prestigious Venice Biennale, will probably not have a second outing. Adding to the smokescreen of misinformation, Devlin also claims to be part of a group called the Young Chelsea Artists (note that this neologism doesn’t receive wikipedia legitimisation). Like the Emperor’s New Clothes, Devlin attempts to expose the gullibility of art aficionados when in fact the humiliation should be his – for having nothing to show but empty promises and an aptitude for selfaggrandisement. In another attempt not to make any art, and in fact sadistically to stop others from doing so, Devlin asked the artists he’d invited over for Susak Expo to paint all the wheelbarrows on the island. Taking advantage of the goodwill of the artists in his charge, he also demanded the gratitude of the locals: he made them pose for photographs alongside the new garish orange wheelbarrows that they had never asked to have decorated. Devlin has reversed the well-meaning (if often misguided) intentions of Relational Aesthetics: he constructs scenarios that cynically mimic the utopian model of reciprocal inter-human relations, all the while rendering the model completely meaningless with useless gestures and the exploitation of others for personal gain.
Fortunately for Devlin, he has just enough charisma, just enough hint of vulnerability, to fool his audience into believing in the sincerity of his soulsearching, the real agony behind his tormented artist act. In the first scene of Dokumentary, we find Devlin sitting in a darkened room, face obscured in the shadows. With muffled voice, Devlin makes a pathetic plea of victimhood like the reformed criminal in a crime investigation series: ‘I never intended to cause any harm to anybody… It was never my intention to mislead anyone.’ In a society that raises the bar ever higher for personal achievement and ambition, failure becomes an acceptable, even desirable outcome to hopes and dreams, and Devlin’s work relies on our ability to empathise with his constant failures. Yet when, like Devlin, one tries very little to achieve anything, failure becomes a reassuringly inevitability, an effortless alternative to the stressful expectations that result from accomplishing goals. When Francis Fukuyama declared the end of history in 1989, he also exposed the inherent limitations of postmodern art, an art doomed to recycle itself. All that had been hailed as achievements of postmodern thought – an end to the tyranny of originality, an end to fascist ideology – was revealed to have an unpleasant corollary: an end to the possibility of change. In the 21st century, then, it’s no longer feasible to appropriate postmodern strategies wholesale without appearing to support the status quo, a position increasingly untenable in a new century blighted by violence and intolerance. Devlin’s practice, however, relies on pilfering and recycling art from the past. He re-enacts past artworks – Bas Jan Ader’s Fall, for example, in which the artists cycles straight into a canal – in the manner of the worst pop music cover version: as a vulgar marketing ploy. He usurps the romantic, tragic status of Jan Ader in order to win the compassion and respect of which he is so undeserving.
by Jennifer Viviani (2006)
Still from Conversation [2005]
Still from Amsterdam Fall [2005]
Still from Drinking Turkish Coffee With Bruce McLean [2006]
Still from In Conversation With S贸crates [2011]
David Brock Maryon Park is one of those under-used London parks that very few people know about . Hemmed in by social housing & the busy Woolwich Road in Charlton.... a corner of South East London off the radar of most north Londoners - is a perfectly landscaped setting. Here, in a place called Cox’s Mount - at the highest point of the park, Michelangelo Antonioni famously filmed Vanessa Redgrave in “Blow Up” (1966) - cavorting with a man whose death appears later to have been inadvertently captured by David Hemming’s fashion photographer character , ‘Thomas’.It was early on a perfect sunny Sunday morning in July & I skipped up the steps to the mount only to discover that someone was already there - tripod set up with a Bolex 16mm. We introduced ourselves, exchanged a few words & then I filmed him filming the empty landscape where 46 years before, Antonioni had seemed to be serving us up a murder / mystery narrative yet by the end of his film we didn’t even know who the main players were. We exchanged contact details : his name is Jakub, he’s a poet & he lives in the Czech Republic. There’s a good contingency to all of this....we keep in touch via Face Book & I plan to involve him in a show I’m curating for next years Loop Video Art festival in Barcelona (17th May - 2nd of June)
Grant McLean Manuelle Poulden. Aproved Mental Health Practitioner, South recovery team.
“Grant McLean (born 1969) is a Scottish artist, born in Thailand. He is the youngest of three siblings and partly grew up with his biological parents. He experienced loss at an early age, being sent abroad to be educated in boarding schools, where his lacklustre academic performance and social awkwardness was only tempered by his excellence at rugby and all sporting activities. It is only towards the end of his schooling that his art teacher identified a sensibility to the arts and a talent for drawing. After making the ill-advised decision to turn down a place at Goldsmiths in 1987, McLean studied Fine Arts at Reading University, where his talent as an installation artist was first recognised. It is also at this time that he experienced significant mental health difficulties, evident in his 1989 installations set in Hume, Manchester, where a short film of huge 20sq metre blocks of concrete being ground down in a continual loop, is juxtaposed against a slideshow of an architectural maquette of the social housing estate, fuelling concerns of social nihilism and extreme social phobia. McLean was not referred to mental health services, but friends and family continued to raise concerns about his increasingly disturbed thinking, grandiose and delusional ideas about his parents being British spies who were murdered by foreign security services. This information could not be verified due to the fact that McLean never spoke about his family, but his mother did in fact work for MI6. McLean’s work evolved into a much more muddled foray into the political landscape of post-war Bosnia, which obscured what is now understood to be a clear psychotic episode, triggered by his work as a refugee camp volunteer. His move to Chekoslovakia signalled the onset of a major depressive episode, compounded by the lack of direction his life had taken, the cold weather and the lack of fresh food and vitamin D. His artistic works ceased completely.
It is only when he moved to the South West of France that his mental health and work improved, with new explorations of the natural world, incorporating meditations on the nature of friendship, family and farming. However, paralysis soon set in and despite enjoying an art studio the size of Versailles, his debilitating social isolation sealed his fate, and he turned to antiquarian book dealing. Today, McLean lives in London and he has found a mental health equilibrium thanks to therapy and continual insight work. The diagnosis of sociopathy was revoked in 2001. Works included in his recent exhibitions demonstrate a quasi neuro-scientific understanding of the functioning of the mind, an openness to social exchanges which are uncharacteristically inclusive and a willingness to consider alternative explanations when besieged by self-doubt. The prognosis for a full recovery is good.�
Playground, 2011
Frieda, 2001 (light sculpture / photo by Hermann Fink)
Hermann Fink www.exterritorial.at delayed perception / natural born necrophiles to recognize is a cemetery where we comprehend still the terminated reality. the visual space and the time have they’r together - existing / meeting in our consciousness....while the I is just an opportune whitness...an offspring product.
delayed perception, 2007 (dance Hiromi Harada, photo Regina Mierzwa)
Scale, 2004 (dance Makiko Otogino, photo Max Moser)
Vera For ever, 1987
4 quarters [2007]
Herzog Dellafiore www.herzogdellafiore.co.uk Let’s stick together, let’s exhibit together, write manifestos, let’s be a nuisance, let’s protest against every art mafia and against the aesthetics of ... art for art’s sake ! [Enrico Baj, 1957] You stinking fucking cigar smoking bastards and you scented fashionable cows who deal in works of art. [Gustav Metzger, 1965] We live in the fog of neo-formalism [...] artists content in proposing professionally packaged pieces [artworks] which look like art [...] if this is art, then fuck art and fuck those who make it. [Herzog Dellafiore, 2006]
Tennis performance [mixed media, hand-painted court, Chelsea College of Art MA show, two semi-professional players] 2006
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Janko Matic www.jankomatic.co.uk
My work/practice aims to misplace, decontextualize any given matter, object, situation, meaning, from it’s affirmed, conformed and conventional context with the least possible input from my side in order to provide it with a new meaning or ‘semantics’.
Tiananmen traffic sign Adhesive vinyl-cut on a metal panel, 55cm diameter, 2007 Tiananmen 1989 Currently, due to strong Chinese government censorship including Internet censorship, the news-media is forbidden to report anything related to the protests. The event has been almost completely absent from Chinese media, including the Internet. No one is allowed to publish any websites related to the protests. An internet search in Mainland China largely returns no results. It is common for Chinese people to be entirely unaware of the Tiananmen protests. www.wikipedia.org (banned) The work The sign refers to the famous ‘Tank Man’, the anonymous 17 year old man who stood his ground and stopped a column of tanks as the army invasion began. The sign was surreptitiously installed on the main avenue at the east end of the square. In context At once I was stunned by the immensity of China and the kindness of its people. While in residence I despaired at a flawed social structure and rampant centralised censorship. As an outsider stuck between the two realities I felt an overwhelming responsibility to add commentary. One small protest can spiral into a massdemonstration. A fact not lost on the intense military presence in the area. Raising this sign was one of the most terrifying experiences of my life.
Door Handle [Mixed media, 30 x 18 x 15 cm] 2010
A series of artworks where I combine objects that represent ‘commonness’ or ‘plainness’ with ‘effects’ that represent ‘wealth’ and ‘richness’.
Martini [Mixed media, 30 x 18 x 15 cm] 2010
Jay Cloth Already well-known as the doorman at ‘Duckie’ nightclub and having worked extensively with David Hoyle (ex ‘the Divine David’) and Lea Anderson of the Cholmondeleys and the Featherstonehaughs, Jay Cloth is also an artist whose collages have begun to attract considerable attention. In work that presents itself as erotic, glamorous and tawdry all at once, Jay Cloth constructs collages that mix and mis-use images from on the one hand glossiest and on the other the tackiest of printed sources. Top-drawer and top-shelf combine to form monstrous morphed figures, upending the Adman’s dream into a consumerist nightmare. One day all this will be You. The artist as Jester and judge, the Avenging Angel of Vogue magazine. His double-bluff identity on the door of ‘Duckie’ is itself a collage of disrupted signifiers, a wild mix from the novelty shop and the charity shop - a ‘ Happy Families’ not just hung, but well and truly drawn and quartered. Creating this role he is not inventing an alter ego or a disguise, but rather an alternative view of identity, a self in perpetual transit. And absolutely at one with his public persona the work he creates presents a distorting (and deeply moral) mirror to the eager viewer. Like the barker of a Dickensian freakshow, Jay Cloth’s work introduces the audience to a self it might have wished had stayed hidden in the attic. Keran James
Last Drought
Rock a buy baby
Karl Grünling BORN NEW Nach wie vor dreht sich bei K.G. alles darum dem Bewusstsein zu seiner innewohnenden Schönheit zu verhelfen. Je nach Aufnahmefähigkeit der Probanden werden Zugänge geschaffen um diese Klarheit zu entfesseln.
Grünling Karl, geb. 1964 in Steyr, lebt und arbeitet in Wien und Graz – 1981- 83 Gedichte und Texte. 198486 erste öffentliche Aktionen (u.a. Graffiti). Ab 1987 kontinuierliche freischaffende Tätigkeit als bild. Künstler und Beginn einer umfangreichen Ausstellungstätigkeit, gleichzeitig entsteht die „Musikgemeinschaft der Improvisatoren” mit der er das Kulturspektakel „7 TAGE UNTERM GRUND”, sowie die Veranstaltungsreihe „Angewandte Kybernetik” an der TU Graz organisiert. 1988 begibt er sich auf eine Studienreise nach Westafrika, deren Eindrücke er in der Ausstellung “AFRIKA“ zusammen mit seiner Partnerin zeigt; die Konzerte faßt er in der Kasettenedition „REST 88” zusammen und antwortet mit den „BEIZEN” auf den chaotischen output der Musik, Farbbäche fließen ungerichtet auf dem Bildträger. 1990 gründet er zusammen mit Gleichgesinnten den FOND (Künstlerkombinat), Grünling arbeitet spartenübergreifend und ist mit Ideenfindung, Organisation, Programmentwicklung an den meisten FONDereignissen beteiligt, z.B. „HAUSSTELLUNG”, „btzSCHLEUSE”, „FONDSCHAU”, „DIE 5. ART” ; 1992 zeigt er die Einzelschau „NOCH HEUTE KÖNNT IHR MICH ERSCHLAGEN” in Graz, hier präsentierte er die Ergebnisse seiner Forschungen nach den skulpturalen Qualitäten unbrauchbarer Dinge. 1993 richtete er die „SONDER POSTKUNST STELLE” im Rahmen eines FONDereignis im Forum Stadtpark ein; er beginnt das Postkartenprojekt „AUS DER KUNSTGESCHICHTE” . 1994 zeigt er in Steyr in der Galerie Pohlhammer im Museum für Industrielle Arbeitswelt das Environment „ARBEITERMA(H) L - ist Kunst Arbeit oder ist Arbeit keine Kunst“; er gestaltet die „FONDsamstagabendSCHAU” mit und tritt als deren Moderator auf; 1995 ist er unterwegs als „KUNSTBERATER” im Auftrag des city-jokers im Rahmen des steirischen herbstes 95; das in diesen Zusammenhang eigens entwickelten „KREATIVSPIEL” wird auf der „Kunst 95” in Zürich von der Galerie Pohlhammer präsentiert; Seit 1996 „TEST TOUR“ Abteilung Sammlung im „Panoptischen Labor“; Teilnahme an der Ausstellung „IL MIELE SI SGOCCIOLA ATTRAVERSO IL PANE“ in Castelfranco,Galerie Pohlhammer; Teilnahme mit der FONDgruppe an „coming up“ im Museum moderner Kunst, Wien; „Junge Szene 96“ in der Wiener Secession; „FONDweltSCHAU“ , steirischer herbst 96; 1997 „tanzFONDtanz“ in Graz; „FONDmöbel + VIDEOKOMBINATION“; „SCHACHTELGEBIRGE“ in der Ausstellung „Erweiterte Heimart“ in Quto (Venezuela); „HOSPITAL tv“ im Rahmen der Österreichischen Schulgalerie im Landeskrankenhaus Steyr; Herausgeber von „ONE DOLLAR SAIGON“ Dollarschein mit Zerreißanleitung; „SAMENSPENDE“ Dokumenta Xno, Kassel; „SCHRIFTBILD“ Mur.galerie Graz; 1998 betreibt er den „clup kosmos“ mit der FONDgruppe; „EINSCHALTUNG“ Präsentation der bearbeiteten Kunstkataloge in der Galerie Pohlhammer,Steyr; 1999 „EINSCHALTUNG II“ Galerie Pohlhammer im Stadtpark Graz; 2000 gründet er “aUtOnOmE tRaNsPoRtE“ ; als „derMODERATOR“ führte er durch das „PASSIONSPIEL“ der IGS; 2001 Internet-Ausstellung “DATENSTRUKTUREN:KARL GRÜNLING” bei Comart Graz; 2002 teilnahme an “line.at-in der sprache der gäste” im Kärtner Kunstverein von KAVN, teilnahme an”BLACK MARKET”, Galerie Transform, St. Petersburg; “GRAZ INTERN” im Forum Stadtpark Graz; “DAS MAGISCHE WUNSCHKONZERT - hören wie du dich fühlst” bei RHIZOM; Graz, “KUNSTendecken wo keine ist” , im Raum Graz, steirischer herbst; “NULLLEISTE”, Fries im Sozialamt Graz; “BITTE, VERLIEREN SIE IHREN KOPF - 9 Supjekte zur Erlösung”, Ausstellung, aUtOnOmE tRaNsPoRtE, Graz; “TEMPEL GESUCHT“ im Rahmen der Ausstellung „Scheitern“ im Forum Stadpark; 2003 „SEKUNDENAKTIONEN“, Graz Performances von KAVN im Rahmen vom Graz 0003; “NULLPODEST“ Aktion und Ausstellung im Rahmen von KAVN/St Petersburg; „SPAZIERGANG I + II +III“, Aktionen im steirischer herbst; 2004 „IM SINNE, MEIN B.“ Aktion mit Grashalm, Rindern bei Kleve; „AKTIONSGRUPPE GEWALT “ Teilnahme an der Ausstellung „DIE 5. GEWALT“ im Forum Stadtpark, Graz; „RELIKTE“ kunst.wirschaft.graz; 2005; „AKTIONSCOLLAGE“ Galerie Remixx, Graz “DIE REVOLUTION SIND WIR“ kunst.wirtschaft.graz ;“EINE HAND WÄSCHT DEN ANDEREN FUSS“ Aktion, Forum Stadtpark, „SEKUNDENAKTION“ Dom im Berg, Graz; “EROTIKUM“ Galerie Remixx, Graz; „AKTIONSFOTOS“ Galerie Remixx, Graz, „BANDAGEN“ Aktion im KUNST etablissement ,“DONNERTAGSGARAGENSCHAU“ Postgarage Graz; 2006 „Mein Beuys...“Hommage zum 20.Todestag eines Meisters unserer Zeit; Ausstellung ;“DIE TOTALE“, Stadtmusem Graz; „PARADIESE-23 Künstler dachten nach“ Schloss Aichberg; „KONSTRUKTIF“ , Galerie Remixx, Graz, Teilnahme an „UNERWARTETER BESUCH“, Galerie März, Linz; „SCHMIDTJR. HOMMAGE“, Galerie Remixx, Graz; „open_gates“, steirischer herbst, Künstlerhaus Graz, Ausstellung:“A, B, C – DIE SUMME DER ANTEILE“ , Bei Uns, Klagenfurt; 2007 Ausstellungsbeteiligungen:„HERZEN, FLÜGEL, DÄMPFE...“, Jausenstation Hirschmann; „STATEMENTS“Galerie Remix“ 2008 Kunsthalle Semriach; Schaumbad,Graz,“ BLAU FÜHRT ZUM TOD“, Galerie remixx, Graz, 2009 „EDITION:WIE MAN DEM BLAUEN HASEN DIE BILDER ERKLÄRT“; 90.SEKUNDENAKTION, Art Cologne, Galerie Kontett Wien;”WOHIN ES AUCH GEHT DU BIST DABEI” Wortspende, steirischer herbst; – “SPACE IN THE SPIRIT”Aktion, steirischer herbst; 2010 URGRUND OHNE ANSCHEIN, Schaumbad Graz, 2011 „24 H FOR BEUYS/NONSTOP“, Magazin,Wien; 2011, Einzela usstellung:“MONOBLEUARTGIFTS(THE DUMMY FESTIVAL)“, Saint Charles Complementary, Wien; „NEUE BEIZEN, ALTE WELTEN, aUtOnOmE tRaNsPoRtE Produzentengalerie Graz; Gemeinschaftsausstellungen:„NE UN AUTONOME“ Schaumbad Work out, Graz, „WIR SIND BETTLER“, Stadtmuseum Graz;
Lonely Pink Heart, 2011 [113x33x28cm Table (found object), plinth, ceramic, enamel and elastic]
Self Portrait Humiliated, 2011 [117x137x69cm Ceramic, enamel, found objects]
Kate Lyddon www.katelyddon.com In Kate Lyddon’s figurative paintings and sculptures, opposites are elastic. Here, villains are heroes, winners are losers and competitive aspirations are revelations of human frailty. Ruthlessly and hilariously imaginative, Lyddon’s paintings celebrate the desire for success and its frequent denial in everyday life, sport, leisure and relationships. Her carnivalesque troupes of fragmented and morphing figures suggest a gleefully chaotic universe in which individuals maintain a cartoon capacity for survival beyond bodily obliteration. These works are a dramatization of fundamental human aspirations, self-perceptions, and the pressures borne on individuals by western society to succeed. Lyddon’s paintings are rendered in oil and acrylic paint, as well as collaged materials, to form images of striking visual immediacy and rich textural quality. Her scenarios of playing, winning and losing are influenced by a plethora of sources, from Egyptian hieroglyphs to Expressionist figurative painting, pop music and song lyrics. Boy Meets Girl, 2011 is a vignette inspired by the 1965 hit It’s my Life by The Animals, whose strange proto-gothic sound and cruel lyrics preach a misogynist line: “There’ll be women and their fortunes […] Are you gonna cry/ When I’m squeezing them dry?” In the painting, Lyddon wittily muddies the male-female roles: the female protagonist lies on a bed beside a column of men’s heads and, on the walls, a row of women’s (faceless) heads hung like hunting trophies. Celebrating the ambiguous figure of the antihero, Lyddon’s ribald figuration troubles social norms and identities. The drawing Fun Day, 2011, for example, features a pole dancer who is part man and part woman wearing a protuberant burgundy-coloured devil-mask; this is echoed by another leotard-wearing
figure sporting a Punch mask (Punch is a classic English puppet known for his outlandish humour and short temper). In Winner Takes It All/Loser’s Standing Small, 2011, a row of figures stand in profile, their arms a flurry of lines suggesting rapid movement as they cheer the athletic champions making a dash to the far end of a swimming pool. Perhaps the most unsettling aspect of Lyddon’s works is the disjunction between expressive modes and the artist’s interiority. This is perhaps most clear in Self Portrait, Humiliated 2011, a sculpture of two rotating busts with red clown noses mounted on a snooker table. Here, the motif of humiliation is too farcical to be expressive of some raw, inner emotion. In fact, it explores a wider cultural and human condition: the aspiration to be at once on display and hidden away. We are all, she suggests, caught between the poles of heroicism and villainy. Colin Perry [Text accompanying the exhibition Heroes and Villains at Daniela Da Prato Gallery, Paris, 2011]
The Joke, 2011 [120x150cm Acrylic, oil and collage on canvas]
If You Want to Dance, Dance, 2009 [130x180cm Acrylic, oil and collage on linen]
We’re Straight, 2010 [70x90cm Acrylic, oil and collage on canvas]
Camp [oil on canvas stitched to wool, 2011]
Marcus Cope www.re-title.com/artists/marcus-cope.asp Cope produces frenetic image fuelled work, which deconstructs not just painting but the actual canvas itself. Although based on personal experience, Cope takes a surrealistic diversion into dreamscapes and imaginariums. James Payne, Huffington Post
Paradise, 20K too much [182 x 384cm, oil on canvas, 2011]
Mark Woods www.markwoods-studio.com Mark Woods‘ highly glamorous and “transgressive” objects are beautiful fetishes, reminiscent of sadomasochist sex toys, but their softness, delicacy and beauty surpass any remote functionality. While packed with feminist, masculine, sexual and even religious ideas, the attractiveness of their execution and the nobility of the materials immediately capture the viewers’ senses. Woods’ sculptures seem to echo to perfection the fraudulent simulation phenomena of a society increasingly obsessed with glamour and pornography -a super profitable industry ultimately responsible for the supply of new concepts, images and fantasies of our private sexual lives. It is certainly ironic, for a society always looking for new excitement and extreme pleasures, that the more we search for transgression the more we turn into play-acting. Mónica Sánchez-Argilés (Hundred Years Gallery Curator Adviser)
Sex Object [Silver, suede, fabric, leather, 2011]
art illuminates life
kunst illuminiert das leben
l`art illumine la vie
Peter Seewasser peterseewasser.blogspot.com autodidact biennale charisma dynamic erotic function globalisation harmony instinct joy kommunication love milestone nature original potential quintessence rotation sport tolerance upcycling vision whiteness xylophone youth zeitgeist
Touch Me 1, Driftwood and thumbnails
Topmodell Naomi, wastepaper object
Mali Losinj > Sunpower, Expired Suchard Chocolate Box
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Romina Dusic www.rominadusic.com
Many would agree that reality is unknowable, therefore, non-photographable. Photography within its technological frame captures some aspects of phenomena. When a photo is taken, its meaning, experienced through one’s qualia, begins to be hollowed out and here comes the observer’s task to reinvent the context. Interpretive games that follow are part of the limitations associated with technological, historical and theoretical frames. The apparent reality, photography likes to provide us with, actually conceals the mechanisms that can make it understandable. Thus, the insistence on the type of realism which coincides with the inertia of our perceptual apparatus is always a way to mystification rather than demystification. Capturing a particular entity prevents us from conceiving many others. The only reality known to myself to some extent is played in my head. As issues about photographable and non-photographable are still fascinating, I continue to make photographic records. As a visual artist I always ask what is the intention and inner motivation driving someone to make an action or complete a work and eventually label it as art. In the same way I am still asking myself whether I should shoot an image or just enjoy a moment. Consequently, some of the images taken are usually neglected moments of real life. Photographs were taken in moments of reflection while travelling. Travel is usually time for liberation, reflecting, deep breath, openness, peaceful gratefulness, and intimist perceptions. Life is all what we have, hence we have to live in peace, joy and gratitude. This is an intimate documentary, a traveler’s notes released from burden of theoretical agenda, generally exempted from the symbolic meaning,
direct associations to the spot of photography and avoiding portraitistic features. In this way the imagery selected might be universal and readable to almost all people. These images are an assemblage of fleeting, evanescent shadows, and are very close to memories and ‘pictures in mind’ coming from specific moments. Although images strike back, we can consciously choose whether to jaywalk across their reverberations.
Man Behind Pillar
Seaside Dweller
Untitled
Grandfather and grandson
Untitled
This Is Graz I [2006] detail
Salazar Quas Salazar Quas was born in Melbourne Australia and was raised throughout the 70’s mostly in Asia Pacific. His work orientates around socio-political issues and experiential segues; reflective of the culture industry itself, and is more than ordinarily busy with institutional commentary and self-critique with a hierarchical perspective. He has a background in filming & recording and is currently focused on paper objects, photographic material and scenographic installations with a basis in fine line illustrations. He studied media arts at the Applied Arts University in Vienna (under B.Kowanz, E.Wurm & P.Weibel) and is currently completing his Masters at the Fine Arts Academy in Vienna. The theme applied for this group show illustrates a sense of internal and external: within and without the ‘institution’ as minion, union and vehicle. The featured works comprise one small paper-collage work and one larger collage work both framed elaborately and glassed. The smaller work, “Lounge Of Dreams” (2011/2012) is a piece about fantasy, childhood idols and integrated dimension; the large collage encompasses the institutional and socio-political landscape of the city of Graz. The work of Salazar Quas will be exhibited in the following upcoming shows in the coming year: “Tremor” Royal Academy Bristol in May, l’Usine Kugler group expo Geneva in June, shows in Rotterdam and Vienna in the Autumn (locations to be confirmed). Salazar Quas currently lives and works in Vienna.
The Critical Ladies 1
Boat Shelter
Stephanie Moran www.re-title.com/artists/Stephanie-Moran2.asp See that girl, barefootin’ along, Whistlin’ and singin’, she’s a carryin’ on. There’s laughing in her eyes, dancing in her feet, She’s a neon-light diamond and she can live on the street. Hey hey, hey, come right away Come and join the party every day. He gazed at her, perhaps having had his vision of consensus as others do orgasms, face now smooth, amiable, at peace. She didn’t know him. Panic started to climb out of a dark region in her head. “Whenever I put the headset on now,” he’d continued, “I really do understand what I find there. When those kids sing about ‘she loves you’, yeah well, you know, she does, she’s any number of people, all over the world, back through time, different colours, sizes, ages, shapes, distances from death, but she loves. And the ‘you’ is everybody. And herself. Oedipa, the human voice, you know, it’s a flipping miracle.” His eyes brimming, reflecting the colour of beer. “Baby,” she said, helpless… I have seen where the wolf has slept by the silver stream. I can tell by the mark he left you were in his dream. Ah, child of countless trees. Ah, child of boundless seas. What you are, what you’re meant to be
Speaks his name, though you were born to me, Born to me Cassidy… - AND WHEN THE CHEVRON TANKER FOLLOWS THE BUS INTO… NOWHERE… ONE GETS A GLIMPSE OF THE PATTERN. A NEW LEVEL… MANY LEVELS HERE… The Pranksters never talked about synchronicity by name, but they were more and more attuned to the principle. Obviously, according to this principle, man does not have free will. There is no use in his indulging in a lifelong competition to change the structure of the little environment he seems to be trapped in. But one could see the larger pattern and move with it – Go with the flow! – and accept it and rise above one’s immediate environment and even alter it by accepting the larger pattern and grooving with it – Put your good where it will do the most! Take a vacation, fall out for a while, Summer’s comin’ in, and it’s goin’ outa style Well, lie down smokin’, honey; have yourself a ball, Cause your mother’s down in Memphis, won’t be back ‘till the fall. Words by The Grateful Dead, Thomas Pynchon (‘The Crying of Lot 49’) and Tom Wolfe (‘The Electric Kool Aid Acid Test’)
The Critical Ladies 3
From threshold to threshold, filmstills, 2009, Biennale Venice
Thomas Redl www.thomas-redl.com The project attempts to present a temporal and spatial continuum as a “nowarchive”, where past and future things are condensed to a “current moment” in a time-loop, so that man becomes visible as a presence in time, a trace in existence. Changing between abstraction and concreteness, plane and space, language and pictorial representation, “images of memory” appear which – as if extracted from the archives of memory – display individual as well as collective history. Quote Johannes Domsich: One arrives at the question “What can this rare art do?” It frees the observer from the tedious search for the art piece’s content, as well as that for its aura. It fulfills a function. The question is not how much information it is able to carry or how eloquent its narrative is, but how little resistance the observer meets in reaching a higher level of his view of him/herself and the world. Redl’s works do not reflect – neither the artist, nor the observer or their culture. They are a medium of the unrepresentable in the truest sense of the word. Just as one is able to read between the lines of good texts, one can look at the essential behind the pictures’ foils. They offer insight into the observers and an outlook on areas situated beyond the presentation and theme conventions of our culture. Applied in architecture, they become openings, passageways, intimate windows into the self, and into the world at the same time.
Untitled, goldleaf on glass, 2000
Untitled, oil on canvas, 2004
The Perfect Poached Egg Large pinch of salt 1 large fresh egg, preferably organic 1 drop of malt or white wine vinegar (optional) 1. Half fill a medium saucepan with water and bring to the boil. Add a hefty pinch of salt. 2. Meanwhile, crack the egg into a small jug or bowl and add a drop of vinegar. 3. Stir the boiling water vigorously with a balloon whisk until you have a whirlpool then immediately slip the egg into the centre, lowering the jug a couple of centimetres into the water. 4. Turn the heat down low, and cook for three minutes – use a timer to prevent overcooking. 5. Drain the egg on kitchen paper, and serve immediately. If you’re poaching it in advance, drop it straight into a bowl of iced water instead, or it will carry on cooking; to reheat, simply warm the egg through in a pan of gently simmering water.
E X T E R R IT O R IA L
stu d i o 1 . 4
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