Ve.Sch

Drama of Consensus
01.06. – 15.06.2023

Ausstellungsansicht Drama of Consensus (Documentation Series)
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm

Documentation Series – Simon Speiser, Stuttgart 2014
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm

Ausstellungsansicht Drama of Consensus (Documentation Series)
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm

Documentation Series – Jumpei Shimada und Laurids Oder, PINA 2017
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen,
Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm

Documentation Series – Anja Kohlweiss, Valie Export Kubus 2021
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas,
Holzrahmen, Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm

Documentation Series – Elio J Carranza, New Jörg 2018
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas,
Holzrahmen, Akustikschaumstoff Whisper, Tonfiguren mit Wachsmalkreiden
120 x 60 x 3 cm

Tu Quoque, 2023
Vitrine „Filmmuseum FfM“ Stahlgestell, Plexiglas
100 x 100 x 100 cm
Documentation Series mit Tonfiguren und 6 Fotografien
Anastasia Jermolaewa, MQ 2021
Brishty Alam, Mirage III 2019
Fabio Santacroce, PINA 2018
Parastu Gharabaghi, Mirage II 2017
Philipp Friedrich, E++ 2017
Rebekka Rothenborg, Fig Garden 2021
17 x 12,5 cm

Drama of Consensus, 2023
1-Kanal Video, Installation mit LG-Projektor, Audiostativ, Stahlplatte (Spielbrett)
9 min 1 sec

Tu Quoque, 2023
Vitrine „Filmmuseum FfM“ Stahlgestell, Plexiglas
100 x 100 x 100 cm
Documentation Series mit Tonfiguren und 6 Fotografien
Anastasia Jermolaewa, MQ 2021
Brishty Alam, Mirage III 2019
Fabio Santacroce, PINA 2018
Parastu Gharabaghi, Mirage II 2017
Philipp Friedrich, E++ 2017
Rebekka Rothenborg, Fig Garden 2021
17 x 12,5 cm

Detailansichten: Tu Quoque, 2023
Documentation Series mit Tonfiguren und 6 Fotografien

Documentation Series – Robin R Waart, BMKOES 2018
Pigmentdruck auf Hahnemühlen Reispapier, Museumsglas, Holzrahmen
30 x 23,5 cm

A Poem, 2020
Text von Ania Shestakova
Pigmentdruck auf Papier
auf einem Stapel gesammelter Ausstellungstexte
21 x 29,7 cm

A conversation with Jennifer Gelardo & Beatrice Forchini
about the implications of exhibition documentation
In the frame of
Independent Space Index Festival 2023
The festival of project spaces in Vienna














Beatrice: (…)

The exhibition where we are now, has the title “Drama of Consensus” and we are
going to talk starting from one of the two main works that Jennifer is showing here
and then move on to the other piece, which is now not activated because it’s a
video piece that you can see afterwards.

So I would like to start from the series, the photographic series you’re showing,
the documentation series that you can see here next to us and then in the next
room. This is part of a selection of a larger series of photographs that you took
as an exhibition photographer for other artist’s exhibitions. So you present shots
that are actually meant to come to life as a record or as documentation, but then
making this kind of conceptual shift and showing themes part of your work and
your research on exhibition as a desired space.

I wanted to ask you how this came about and which position this has in your
practice of reflecting on how spaces are constructed and what is the kind of
investment in terms of desire, imagination, or experiences that artists produce
within their work.

Jennifer: (…) I think as an artist myself, before even taking on or doing the job as an
exhibition photographer, before taking this vocation on,I’ve also been staging
performances that question what it is, that we’re doing as artists and what is
this project,maybe as, in terms of the human animal, I like to say this since having
read Donna Haraway, to put things into a biological context; We as beings need
exhibitions maybe for some reason or another. And then this has been since
15 years now a question in my head and since 12 years I’m doing exhibition
photography, as a job to be able to support myself as an artist, living.
And I also like this thing of being immersed in the community with other artists.
So serving other artists with pictures that I can take of their work, doing this
over the course of 12 years made this question even more persistent: why are we
doing this, as artists? And why are people coming to see it, as viewers? What is
the desire behind it, is the question that came up. I hope this, I think this
would answer the question, right?

Beatrice: Yes.

Jennifer: Well, over the course of time, I came to look at these photographs as
windows into private lives or private imaginary spaces of these authors.
Something that people are sharing with us and that when you look at it as
an overview or as a comparison, something else happens. This shift is very
interesting to me.
Then last year I dared to share this overview that I acquired for myself, at an
exhibition at the Kunstverein Kärnten in Klagenfurth. But as my subjective
selection of images that I took over the years. So I wrote the artists, asking them
if it’s OK for me to choose a motif of their work, to share them in an exhibition
under my name.

Beatrice: Yeah, I like that in a way, this also kind of multiplies the possibilities,
also of your exhibition here, because of embedding traces that bring an echo of
other spaces. In a way, you involve a more, kind of multiple, sort of view, that
also has, in a way, maybe influenced your work of thinking about your own desired
space in your own exhibition spaces. So I like the idea of somehow tackling this
network that came about through a job that is not necessarily, or that you didn’t
think of initially, as your art practice – that of an exhibition photographer,
but then making it into almost like a personal study. So yeah, I like the idea
that there is an echo and there are traces that enter in this space.
And I also like the decision to show them for example in this form, encarved into
acoustic foam, which adds sort of another layer and makes them in a way more
distant but also maybe more sensual. Because when I see them, I can see that there
is something also very personal, that is not just documentation, but it becomes
somehow more atmospheric for me.

(…)

An excerpt from a conversation between Beatrice Forchini and Jennifer Gelardo.
On the Implications of Exhibition Documentation in the Framework of the Independent Space Index
Festival, Vienna, and the Exhibition “Drama of Consensus”, June 4th 2023




Freie Sammlung Wien Nr. 35
Tonfiguren mit Wachsmalkreiden
Dimension variabel

Rumours
23.03. – 06.04.2023

Odes, 2023
Cotton and alcantara
1100 x 500 cm

Meduse 1810, 2023
Lead, variable dimensions
(on the floor)

detail view

Shipping Forecast (Rumours)

There are warnings of Gale in all areas except Alcantara and Terminal 2. The General Synopsis at 0600 Developing Atlantic low, moving rapidly north-eastwards, expected 100 miles north of Fair Isle by 0600 tomorrow. New low expected 230 miles west of Rockall by the same time. The area forecasts for the next 24 hours Viking, North Utsire, South Utsire Westerly 6 to gale 8, backing southerly then veering westerly later, 7 to severe gale 9, occasionally storm 10 in Viking and North Utsire. Very rough or high. Rain or squally showers. Moderate or good, occasionally poor. Forties, Cromarty, Forth West, backing south for a time, 6 to gale 8, increasing gale 8 to storm 10, perhaps violent storm 11 later in Cromarty. Very rough or high. Rain or squally showers. Moderate or good, occasionally poor. Tyne, Dogger, Fisher, German Bight Southwest 5 to 7, occasionally gale 8 in Dogger, increasing 7 to severe gale 9, perhaps storm 10 later. Rough or very rough. Rain or showers. Moderate or good, occasionally poor. Humber, Thames, Dover, Wight Southwest 4 or 5, increasing 6 to gale 8, perhaps severe gale 9 later. Moderate or rough. Occasional rain. Moderate or good. Portland, Plymouth Southwest 4 or 5, increasing 6 to gale 8. Moderate or rough, occasionally very rough later. Occasional rain. Moderate or good, occasionally poor. Biscay, FitzRoy Southwesterly 4 or 5, increasing 6 to gale 8 in north Fitzroy. Rough or very rough. Mainly fair. Moderate or good. Sole, Lundy, Fastnet, Irish Sea, Shannon Southwest 6 to gale 8, increasing severe gale 9 at times, occasionally storm 10 later in Shannon. Rough or very rough in Lundy and Irish Sea, otherwise very rough or high, occasionally very high in Shannon. Occasional rain. Moderate or good, occasionally poor. Rockall, Malin, Hebrides, Bailey Southerly or southwesterly, becoming cyclonic or westerly for a time, severe gale 9 to violent storm 11, occasionally hurricane force 12 in Rockall, Hebrides and South Bailey, decreasing 5 to 7 for a time later. High or very high, Rain or squally showers. Moderate or good, occasionally poor. Fair Isle, Faeroes West 7 to severe gale 9, backing south or southeast then becoming cyclonic or west later, gale 8 to storm 10, increasing violent storm 11 at times. High or very high. Rain or squally showers. Moderate or good, occasionally poor. Southeast Iceland Southerly or southwest, veering west or northwest, 6 to gale 8, occasionally severe gale 9 at first. High or very high. Squally wintry showers. Moderate or good. Weather warning area. Rough or very rough. Storms and severe gales at times. Rain, showers, squally rain, strong winds, frequent squally showers. Windy and wet. Gale or heavy showers. Water and wind driven. Moderate or good. Strong gales and heavy showers. Moderate to fair. Occasional rain. Storms and severe gales at times. Weather warning area. Rain or heavy showers. Gale or heavy showers. Moderate to fair. Occasional rain. Weather warning area. Moderate to rough. Very rough and extremely windy. Rain and strong gusts. Heavy rain. Gale or heavy gales. Dry or fair, occasionally poor. Moderate to rough. Very rough and very windy. Cloudy. Cold and clear. Very cold. Gale or heavy winds and strong gusts. Rain or squally rain. Gale or heavy gales. A very rough gale. Gentle or slight westerly. Rain. Rain with mild drizzle. Cold. Fog. Mist or rain. Clear, sunny, still and cold. Frost. Fine. Storm Adrian update, Sunday 3rd December: Unsettled and chilly throughout. Quiet in the north, showery in the east. High, damp or showery, in the south. Gale or stormy. Very windy in Shetland. Fairly breezy in the south. Fresh or occasionally drizzly. Low, misty. Heavy showers and very windy or very cold. Frosty. Lightly cloudy and cold. Moderate to fresh. Windy. Fairly fresh in the north. Very windy in the far north. Windy. A gale or stormy or stormy or stormy. Windy. Fairly wet in the north. Fresh or occasionally dry. Fairly cold. Frosty. Clear or chilly. Breezy. Foggy. Cloudy. Windy. Fresh and occasionally moderate or heavy in the east. Fresh or occasionally moderate or heavy in the west. Fresh. Moderate to fresh or sometimes very cold. Very fresh or frosty. Cloudy. Dry or moderate. Clear. Windy. Windy. Cold. Very cold. Fresh. Frosty. Widespread frost. Fairly cold. Frosty. Still very cold. Inland fog, gradually lifting or clearing during the day. Forecasts will change.

text contribution by Oscar Perry

Victory 1744, 2023
Lead, 9 x 4,5 x 41 cm

Visualisierung Cabinet Amateur, 2023
Installationsansicht

Before The Sky, 2021-2023
Oil, acrylic, graphite on canvas
d=186cm, series

earth, wind and fire – immersive light actions
Musikperformances
«Video(a)
«Video(b)
«Video(c)

will play a live set in a sculptural setting
for electronics, synced lightbulbs, a ball of fabrics, fake weather and bubble wrap.
Hall Live @ Ve.Sch

– A giant ball of couloured worn out tarps levitating in a concrete exhibition space 3d rendering –
The two visual artists and musicians transfer & deconstruct their sculptural strategies to minimal performative sound settings, built from scratch for each performance.

Dis-placement
12.01. – 26.01.2023
Contemporary Art Library
Kuba Paris

exhibition view:
Dis-placement, 2023

„There is a word called shokuchi (palpating). It means to sense the presence of an object through tactile perception. Can a photograph be an object? Approach to touch it and leave to see it—I wander about while creating works, taking the distance with the object and the surroundings. I wait for the moment when the image emerges to surface.“ H.T.

Freie Sammlung Wien Nr. 32
from the series:
Dis-placement, 2023
C-print, museumglass
154×112 mm

from the series:
Dis-placement, 2023
C-print, museumglass
154×112 mm

from the series:
Dis-placement, 2023
C-print, museumglass
154×112 mm

In the field of psychoanalysis, there is a concept called „displacement,“ which is classified as one of the functions of the ego’s defense mechanism. Displacement is the process of redirecting repressed desires and impulses to an object that is different from the original object of desire. Therefore, it can be defined as a function of the mind that tries to satisfy an original desire or impulse even when it’s object is unattainable. So what is experiencing/going through a replacement here? The double structure created in Takizawa’s work allows the viewer to move the gaze back and forth between the objects inside and outside the image. The shadow of an object is placed on top of the backdrop of a photographic layer, thereby connecting and partially erasing the different layers of images. Through this shifting of layers, the viewer is inclined to relate to the objects in the image within the photograph. Since graduating from university with a degree in psychology, Hiroshi Takizawa has continued to produce works in various forms of photographic expression. By capturing „material“ in his photographs (and videos) he reconstructs the realized image and fixes it on another base to invite the viewer to a world that shifts between the boundary of image and material. Takizawa reexamines the boundaries between two-dimensional images and three-dimensional materials. Using photography—a device that dissects a space-time into a slice of two-dimensional image, Takizawa makes irreversible transferals possible between dimensions through various media, and continues to extend his unique field of expression. Since his exhibition „New Photographic Objects: The Materiality of Photography and Imaging“ at the Museum of Modern Art, Saitama (2020), his work has received increasing attention in recent years. In September of 2021 Takizawa was bestowed with the Overseas Trainee Grant by the Japanese Agency of Cultural Affairs, with which he has been conducting research at the Sigmund Freud Museum in Vienna.

Hearing From An Unfolding Revolution
Soundperformance 
«Live

WRLDSTGD
13.10. – 27.10.2022


Himmel ohne Bett, 20.10.2022
Eisen, Molton, Gläser, Töpfe und Geschirr
200 x 200 x 240cm

Himmel ohne Bett, 27.10.2022
Molton, Eisen
200 x 200 x 240cm

Himmel ohne Bett, 27.10.2022
,Grande finale Catastrophe (liliebesfesth)‘,
mit „österreichischer Messe“ unter der Leitung von mir,
mit dir an: E-gitarre, Pauke, Synthesizer, Metallophon, Xylophon, Trompete, Blockflöte, Harmonika, Stimme…
Musikperformance

Bett ohne Himmel, 27.10.2022
Rohspan, Bettzeugs, Molton
200 x 200 x 50cm

Ausstellungsansicht, 27.10.2022
links oben
Freie Sammlung Wien Nr. 30/a
Verbranntes Bild, 2015
30x20cm











Freie Sammlung Wien Nr. 30/b
Verbranntes Bild, 2015
60x50cm

Untitled, 27.10.2022
Acryl auf Leinwand
240 x 320cm

Himmel ohne Bett, 20.10.2022
Eisen, Molton, Gläser, Töpfe und Geschirr
200 x 200 x 240cm

Poster Jerusalema by Master KG, 20.10.2022

Nach einem Abend mit Chopin, 20.10.2022
Installationsansicht

Poster-, Raumansicht, 20.10.2022

Ausstellungsansicht 13.10.2022
,Imuschis 1-3′, 2022
Acryl auf Leinwand, je 80×60 cm

Popes, 2021
Acryl auf Leinwand, je 80×60 cm

Bett ohne Himmel, 13.10.2022
Holz, Spanplatte, Furnier, Schrauben und diverse Materialien
Dimensionen variabel

Beschneidung am Herzen, 2022
Öl auf Leinwand, 30 x 40 cm

Deborah Montagnier/Luc Lipstadt, 2022
acryl, marker, full metal paint, 60 x 50cm

,Banana Pose‘, 2022
Performance

Soundperformance
How To Ask A Hyperobject For Directions

,Onions‘
18.08 – 01.09.2022




Diana Barbosa Gil
Dummy, 2022
Cold Porcelain, Plastic, Wood, Plants, Brass, Sewing Supplies
Nie Ohne Seife Waschen (Oddity), 2022
Needle, Steel, Silicone, Chain Acessories, Sewing Supplies

Miguel António Domingues
Rolle, 2022
Acrylic, Pigment, Paper, Steel
Ausgepackt (Hanging version), 2022
Pigment,Transparent Paper, Plasterboard, Cardboard, Styrofoam

Miguel António Domingues Detailansicht: Ausgepackt (Hanging version), 2022
Pigment,Transparent Paper, Plasterboard, Cardboard, Styrofoam

Diana Barbosa Gil
Little Big Toe, 2022
Plaster, Pigment, Silicone, Chain Acessories, Nylon

Diana Barbosa Gil
Cactus Trust, 2021- 2023
Cactus, Wax, Plaster, Clay, Needle

Miguel António Domingues
Detailansicht: Ausgepackt (Hanging version), 2022
Pigment,Transparent Paper, Plasterboard, Cardboard, Styrofoam

Dummy, 2022
Cold Porcelain, Plastic, Wood, Plants, Brass, Sewing Supplies
Detailansicht

„In an isolated place
only in my shelter
there I will have a roof
and my wicket“

Tecto na montanha, from the album Cantares do Andarilho (1968),
by José Afonso.

The spatial distribution of this exhibition is the first trace of dialogue between the creative processes of the two artists, Diana Barbosa Gil (1990, Cali – Colombia) and Miguel António Domingues (1982, Lisbon – Portugal).
Two important factors to consider for this exhibition to take place: the geographical (dis)location of both artists and the fact they share a studio. Diana Barbosa Gil studied at the Universität für Angewandte Kunst in Vienna, and Miguel António Domingues, at the Académie Royale des Beaux-Arts, in Brussels. Both artists cross paths in Lisbon and through working in the same space they started materialising this exhibition. From the distinct artistic practices of sculpture (DGB) and drawing (MAD), the artists’ works schematise the space, play with scale(s), and suggest a plausible „artistic contagion“.
DGB‘s sculptures incite us to look closely, from the floor, the ceiling, the wall, and at the tension between the materials that physically connect them. Some pieces are hanged and stretched, hooked on fishing material, ornamented with accessories or mass-produced goods from China. Subversive ceramics emerge from the floor, manipulated, and adorned – sometimes with haute couture fabrics, sometimes with moulds of religious anatomy. A clear example of this unusual fusion of materials is the living sculpture „Cactus Trust“ (2021) – composed of plaster, latex, wax, sewing thread and a cactus. Living because it was reborn, bursting out of its structure, to continue its evolutionary state and natural growth. Boldness, effervescence, and improvisation are elements to consider in DGB‘s work.
We adjust the focus and move on to a different scale: drawing as thought and action. Here, drawing is expressed through the performativity and subtlety of the gestures that define the three-dimensionality of these works. The surfaces used by MAD – paper, wall, or cardboard – are the first evidence of actions such as stretching, laying, creasing, or perforating. Among this combination of gestures, two of them sharpen our perception because they are antagonistic: the laying and the perforation. The laying out of paper in the space, and of the pigment on the paper, gives it, by force of gravity, the gracefulness of the act of resting. On the other hand, the impetuous perforation of the blade on the wall, or the sharp point that touches the curvature of one of the drawings, disturbs us and refers us to a latent tension between this series of gestures and materials. The relationship between gesture and three-dimensionality is equally evident in the geometrization of the large-scale drawings („X“) which are in permanent dialogue with the architecture of the space(s) they inhabit. These are some elements that allow us to uncover, understand and index some of the guiding principles of the bodies of work of both artists.
Despite this brief analysis and the artistic dialogue based on (dis)localised and shared space, several questions remain: what is the impact of these factors in the development of their artistic work, or on their definition of home and identity as catalysers of their work? What are the common artistic sensors between these works that influence each other and make us shed contemplative tears? Is this the cause-effect we feel when we open ourselves to the world (and to the onion)?

Tiago Peixoto Pereira















Diana Barbosa Gil Dummy, 2022
Cold Porcelain, Plastic, Wood, Plants, Brass, Sewing Supplies
Miguel António Domingues
Rolle, 2022
Acrylic, Pigment, Paper, Steel
Diana Barbosa Gil Leg Turn, 2022
Fabric, Wax, Steel, Plants, Cold Porcelain
Cucharita, 2022
Cork, Plaster, Acrylic

Miguel António Domingues
Rolle, 2022
Acrylic, Pigment, Paper, Steel
Detailansicht

Leg Turn, 2022
Fabric, Wax, Steel, Plants, Cold Porcelain

Diana Barbosa Gil
Nie Ohne Seife Waschen (Oddity), 2022
Needle, Steel, Silicone, Chain Acessories, Sewing Supplies
Detailansicht

Miguel António Domingues
Ausgepackt (the floor piece), 2022
Styrofoam, Cardboard, Paper, Plastic, Pigment, Steel
Detailansicht

Miguel António Domingues
Ausgepackt (the floor piece), 2022
Styrofoam, Cardboard, Paper, Plastic, Pigment, Steel
Detailansicht

,Love´s Labour´s Lost‘ 
Schallplattenkonzerte/zerstörungen mit Stücken von:
Anne Juren, Anja Nowak, Sara Zlanabitnig

Café Memoriam
The ego and its surroundings, the individual and the general
14.07 – 28.07.2022


,Ohne Namen‘, 2022
wood, steel, motor, electronics
Abdruck

Freie Sammlung Wien #27:
,Ohne Namen‘, 2022
wood, steel, motor, electronics

Things to love about playing hide and seek: mainly hiding aspects; patiently occupying that dark, damp lair; the fear of getting caught; the thrill of being searched for, as if somebody cares; the sweat produced, trying to find the perfect spot in 100 seconds or less, is slowly curing; laying still, in that nook, facing the ground; the heart is racing; time warping; perspective inverting; the respiratory rate forcedly decreasing; self-centered seclusion turning into borderline arousal, lying there, in that moldy ditch; alone, barely seeing anything; almost smelling everything; fighting the temptation to smirk fanatically; the taste of madness; a perfectly balanced blend of terror and excitement; face cupped as insects settle on the neck; the outside world keeps disappearing; after years of abandoned trauma – yearning to be forgotten; entitled and delighted by glorious self-pity; suddenly a familiar touch eliminates carefully constructed despair; confusingly comforting, comfortably confusing; remember that taste.

Sebastian Koeck
















,self-centered in tight proximity‘, 2022
stainless steel, straw

,Meute‘, 2022
wood, acrylic glass, silicone, concrete

,mystic, fogged figure in the distance`, 2022
wood, glass, epoxy resin, pigment, jacket

,Feuer‘, 2022
lighter

Oh Greening Branch
19.05. – 02.06.2022



o.T. – Acrylfarbe auf Wand, 2022
240x240cm

o.T. – Acrylfarbe auf Wand, 2022
100x100cm

• 

o.T. – Acrylfarbe auf Wand, 2022
140x140cm

• 

Cities of Thieves


doodle, 2022
toner transfer























Untitled, 2022
found objects, concrete, drywall bracket











exhibition view
















Congress, 2022
Anti pigeon mesh, bird stickers








Every City has a Room for Questions

scenario i
M: “My youth is yours, if you can name all exquisite synonyms for the word stealing.”

B: “Bursts of unknown pleasures,
cynical hopefulness,
moments of concealed sharing,
a mind that does not care.”

I: “It’s done!”


scenario ii
“One is ill advised to build their status with things of their personal liking. A lack of excitement, liveliness, or interest is needed for a successful life. Asepticism, blandness, colorlessness, drabness, dreariness, dryness, dullness – all these are valid. Tough we start with a thin line, it multiplies in quadrants.”


scenario iii
Space is just a means of preventing everything from being in the same place. Its vastness masks the overlapping coordinates of all meeting points by graduation.

text by Jennifer Gelardo accompanying the exhibition
,City of Tieves‘ by Flavio Palasciano
Ve.Sch March 17 2022















Untitled, 2022
found objects, concrete, drywall bracket
Doodle, 2022
toner transfer












































doodle, 2022
toner transfer

rotation and time based performances / installations
18.11. – 23.12.2021



installative sound performance
with special guest Pisitakun Kuntalang













Freie Sammlung Wien #22
,walkmanpaintings‘, 2021















,hybrid #1 – ⥀6′
« Video

echo twist komma blitz
07.10 – 22.10.2021



Postkarte A4
Space nr.1:
wall painting in situ (ECHO), 2021
275 x 410 cm
Space nr.2:
moved: O.T. (SHE) from the Adler cycle, 2021
65 x 50 cm
wall painting in situ (MEMORY), 2021
200 x 370 cm

Freie Sammlung Wien #21
wall painting in situ (ECHO), 2021
275 x 410 cm
wall painting in situ ve.sch bar (POMODORO), 2021
265 x 107 cm
O.T. (TWIST) from the Adler cycle, 2021
65 x 50 cm

















Ausstellungsansicht
echo twist komma blitz















O.T. (BLITZ) from the Adler cycle, 2021
65 x 50 cm















wall painting in situ raum 1 (BLITZ)
265 x 350 cm
O.T. (SHE) from the Adler cycle, 2021
65 x 50 cm





















wall painting in situ raum 2 (MEMORY)
200 x 370 cm
O.T. (HOKUS POKUS) from the Adler cycle, 2021
65 x 50 cm
















O.T. (HOKUS POKUS) from the Adler cycle, 2021
65 x 50 cm

















Ausstellungsansicht
echo twist komma blitz

















wall painting in situ ve.sch bar (TWIST)
265 x 107 cm
O.T. (TWIST) from the Adler cycle, 2021
65 x 50 cm

















wall painting in situ ve.sch bar (POMODORO)
265 x 107 cm

















O.T. (KOMMA) from the Adler cycle, 2021
65 x 50 cm

















eine performative Aktion des Umhängens

Umeå
09.09 – 24.09.2021
















Freie Sammlung Wien #20
Postkarte A4
,Umeå‘, 2021
Markisenstoff, Eisen, Werk- & Normteile
5-teilig, je 145x50x60 cm

Musik, Musik, Musik …
Performance (60min)
«Audio
eingeladen von Hans Jürgen Hauptmann

punisher@Ve.Sch
exhibition and reading

«text by Amar Priganica

sublimation print on aluminium
50x50x50cm

Niklas Lichti