<Julius Pristauz>

,LET’S SPEAK‘
09.11. – 23.11.2023




let‘s speak! (finocchio), 2023
Glas, Leuchtmittel, Metallbefestigung, Sicherungskette, Herz-Anhänger
45 x 65cm

















let‘s speak! (finocchio), 2023
Glas, Leuchtmittel, Metallbefestigung, Sicherungskette, Herz-Anhänger
45 x 65cm

Detailansicht
















exhibition view
















ein Essay von Sylvia Herzog
für die Ausstellung LET’S SPEAK von Julius Pristauz
Grafik: Vanessa Eck

«Text
















let‘s speak! (Damenbad/warmes Herrenbad), 2023
Glas, Milchglas, Leuchtmittel, Metallbefestigung,
Schwimmbrille, Badematte

90 x 160cm
















Freie Sammlung Wien Nr.37
Blinds, 2023
Jalousien vor Galerienfenster
Dimension variabel















<Aurelia van Kempen>


Muldengold
Vampirparty in der Venusfalle
05.10. – 19.10.2023


Venusleine, 2023
Textilien, Papier, Plastik, Draht, Keramik, uvm.
Dimensionen variabel
















Venusleine, 2023
Textilien, Papier, Plastik, Draht, Keramik, uvm.
Dimensionen variabel

















Muldengold, 2023 – printed media, limited edition
*ist ein fiktives Unternehmen, das sich spielerisch und prozessual mit der Thematik der Bürokratie, Professionalisierung, Produktentwicklung und Vermarktung auseinandersetzt. Muldengold ist eine soziale Skulptur, die durch die Einbeziehung diverser Persönlichkeiten entsteht und wächst. Muldengold spielt mit der Gegenüberstellung von kommerziellen Vermarktungsstrategien von Produkt und Dienstleistungen die wir im Alltag vorfinden und dem Kunstbetrieb.
















Cover Magazin
Muldengold









,Vampirparty in der Venusfalle‘ ist eine immersive Ausstellung rund um die Publikation des ersten Muldengold* Magazins und beherbergt eine Bloody Bath Bar, Skulpturen und Malereien, die aus dem Muldenfund der Venusfalle hervorgegangen sind.

Die Venusfalle war ein Nachtlokal im 2.Wiener Gemeindebezirk, das im Herbst 2018 wegen Renovierungsarbeiten schließen musste. Ein gigantischer Teil des Interieurs wurde in einer Baumulde auf die Straße gestellt und zur Grundlage von Aurelias Schaffen. Innerhalb einer zweijährigen Recherche entstand in einer ehemaligen Nervenheilanstalt in Hietzing eine raumgreifende Installation die als Gesamtkunstwerk zu verstehen ist. Performative Happenings unter anderem die „Vampirparty in der Venusfalle“ wurden dort umgesetzt. Die Vampirparty erzählt eine Kunst- Kulturgeschichte des Festes und ist ein unvergessliches Ereignis, ein rauschend, blutiger Selbstentwurf.

39 Originalfotografien von einer Kostüm- und Karaoke Party, die 2011 in der Bar Venusfalle stattfand, dient Aurelia, im Sommer 2020 als Vorlage für ein Re-Enactment. 15 Statist*Innen erhielten Rollenzuschreibungen und Kostüme aus dem Muldenfund. Die vierstündige Aktion wurde mit Sound- und Fotoaufnahmen festgehalten. Die daraus hervorgegangenen Fotoaufnahmen bilden die Basis für die Foto-Love-Story „Vampirparty in der Venusfalle“ und sind das Herzstück des ersten Muldengold Magazins. Heute ist die Venusfalle, in der Waschküche des ehemaligen Nachtlokals Tete-A-Tete in der Goldschlagstraße 5, eingelagert, das Aurelia mit ihrem Kollektiv ZAK | zentrum für antidisziplinaere kunst derzeit bespielt und konstant transformiert.








Venusleine, 2023
Textilien, Papier, Plastik, Draht, Keramik, uvm.
Dimensionen variabel
Detailansicht
















Venusleine, 2023
Textilien, Papier, Plastik, Draht, Keramik, uvm.
Dimensionen variabel
Detailansicht
















Wrecking Bomb, 2020
High Heels, Christbaumschmuck, Draht, Schrauben
Dimension variabel
Detailansicht

















Wrecking Bomb, 2020
High Heels, Christbaumschmuck, Draht, Schrauben
Dimension variabel
















Kronkorkenhaut, 2020
Kronkorken, EVAC, Epoxyharz, Draht
280 x 180 cm


















(l./o.) Bloody Marie, 2023 – Kronkorken, EVAC, Epoxyharz, keramik, Aluminium, Gummi, Plastik
Multifunktionale Henne, 2022 – Latex, Karton, diverses Füllmaterial
(r./u.) Projektion „Alles Gute“, 2023 – Mischtechnik auf Leinen

















Venusleine, 2023
Textilien, Papier, Plastik, Draht, Keramik, uvm.
Dimensionen variabel
Detailansicht
















Muldenfund, 2022
Plastikpflanze, Papier, Spray
Freud & Egg, 2021
Metall, Plastik
















Vampirparty in der Venusfalle, 2023
Fotocollage auf Leinen, Eitempera auf Papiertapete
I stay in the dark, 2023
Aluminium, Draht, Gummi, Kosmetiktaschen, Eyeliner, Kamm

















Muldengold Vampirparty (Ve.Sch Kunstverein)
in Kooperation mit
ZAK | zentrum für antidisziplinaere kunst


















Muldengold Vampirparty (Ve.Sch Kunstverein)
in Kooperation mit
ZAK | zentrum für antidisziplinaere kunst


















Muldengold Vampirparty (Ve.Sch Kunstverein)
in Kooperation mit
ZAK | zentrum für antidisziplinaere kunst


















Muldengold Vampirparty (Ve.Sch Kunstverein)
in Kooperation mit
ZAK | zentrum für antidisziplinaere kunst


















The audience
















<Sami Mandee>

,4 im 3ten‘
08.02. – 23.02.2024
Windows




Untitled, 2019
Bleichendes Papier, Notizheft Etikett, Buntstift
21 x 15,6 cm

Untitled, 2019
Bleichendes Papier, Buntstift
21 x 16 cm

Untitled, 2019
Bleichendes Papier, Notizheft Etikett, Buntstift
21 x 16 cm

Untitled, 2019
Bleichendes Papier, Buntstift
21 x 15,6 cm

Bleeder, 2024
Epoxidharz mausgrau, Vaseline
Dimensionen variabel











































































<Francis Ruyter>

Standard
31.08. – 14.09.2023




Untitled – acrylic / gesso on canvas, 2023
70 x 50 x 27 cm
70 x 50 x 37 cm


















Untitled – acrylic / gesso on canvas, 2023
70 x 50 x 37 cm


















Untitled – acrylic / gesso on canvas, 2023
70 x 50 x 37 cm

flipped image

















Untitled – acrylic / gesso on canvas, 2023
100 x 50 x 11,5 cm
100 x 50 x 11,5 cm


















Untitled – acrylic / gesso on canvas, 2023
100 x 50 x 11,5 cm
100 x 50 x 11,5 cm


















Untitled – acrylic / gesso on canvas, 2023
70 x 50 x 27 cm

















Untitled – acrylic / gesso on canvas, 2023
13,5 x 40 x 31 cm
70 x 50 x 27 cm

















Untitled – acrylic / gesso on canvas, 2023
70 x 50 x 27 cm

















Untitled – acrylic / gesso on canvas, 2023
100 x 80 x 16 cm
50 x 60 x 12 cm

















Untitled – acrylic / gesso on canvas, 2023
70 x 70 x 36 cm










She is as in a field of silken tent
At midday when the sunny summer breeze
Has dried the dew and all its ropes relent,
So that in guys it gently sways at ease,
And its supporting central cedar pole,
That is its pinnacle to heavenward
And signifies the sureness of the soul,
Seems to owe naught to any single cord,
But strictly held by none, is loosely bound
By countless silken ties of love and thought
To every thing on earth the compass round,
And only by one’s going slightly taut
In the capriciousness of summer air
Is of the slightest bondage made aware.

The Silken Tent
Robert Lee Frost

















<Edin Zenun>

НЕЖНОСТИ
03.08. – 17.08.2023


НЕЖНОСТИ, 2023
Keramik, Zinn
120 x 350 x 1,5 cm















НЕЖНОСТИ, 2023
Keramik, Zinn
120 x 350 x 1,5 cm>
Detail















НЕЖНОСТИ, 2023
Ausstellungsansicht














o.T. – Gräser, Zinn, 2023
Dimension variabel














НЕЖНОСТИ, 2023
Ausstellungsansicht














o.T. – Gräser, Zinn, 2023
Dimension variabel














Teget, 2021 – Öl auf Leinwand
26 x 21cm














o.T. – Tusche, 2023
ca 200 x 300 cm














o.T. – Gräser, Zinn, 2023
Dimension variabel














o.T. – Gräser, Zinn, 2023
Dimension variabel


















НЕЖНОСТИ, 2023
Keramik, Zinn
120 x 350 x 1,5 cm














НЕЖНОСТИ, 2023
Detailanischt













НЕЖНОСТИ, 2023
Detailanischt













<Martin Chramosta>




Detailansicht ,Philesota‘, 2023
Lackierter Stahl, Keramik glasiert, Beton
261 x 50 x 26cm
















,Minnedelphia‘, 2023
Lackierter Stahl, Keramik glasiert, Beton
198,3 x 30 x 25cm




























,Winterhafen‘, 2023
Eisen
100 x 100 cm































,Keradeniz‘, 2023
Eisen, Keramik glasiert
135 x 78 cm


































Ludwig Kittinger ,Kärcher‘, 2022
Enkaustik auf Holz
35 x 25cm
















<Drama of Consensus – Exhibition as Desired Space>

<Waxed In Time>

<Ludwig Kittinger>

Songs of Increase
29.06. – 20.07.2023
«Text by Artan Sadiku, Skopje
Waxed in Time




I see Bee, 2023
Zinkblech, Schellack auf Holz
120 x 67 x 40 cm
29. Juni 2023
dimmed light 20%
















Installation view – Songs of Increase
29. Juni 2023
dimmed light 20%
















Red, 2023
Enkaustik auf Holz
130 x 91 cm

Cane to Chin, 2022
Enkaustik, Öl und Lauge auf Holz, Holzverkohlung
190 x 145 cm

Wendehals, 2023
Wachs, Öl, Acrylfarbe, Lauge auf Holz, Holzverkohlung
47 x 58 cm


29. Juni 2023
dimmed light 20%
















Cane to Chin, 2022
Enkaustik, Öl und Lauge auf Holz, Holzverkohlung
190 x 145 cm
29. Juni 2023
dimmed light 20%
















Wendehals, 2023
Wachs, Öl, Acrylfarbe, Lauge auf Holz, Holzverkohlung
47 x 58 cm

29. Juni 2023
dimmed light 20%
















Red, 2023
Enkaustik auf Holz
130 x 91 cm
29. Juni 2023
dimmed light 20%
















I see Bee I + II, 2023
Zinkblech, Schellack auf Holz
120 x 67 x 40 cm
29. Juni 2023
dimmed light 20%
















I see Bee II, 2023
Zinkblech, Schellack auf Holz
120 x 67 x 40 cm
29. Juni 2023
dimmed light 20%
















Martin Chramosta ,Philesota‘, 2023
Lackierter Stahl, Keramik glasiert, Beton
261 x 50 x 26cm

Ludwig Kittinger ,Red‘, 2023
Enkaustik auf Holz
130 x 91 cm

06. & 13. Juli 2023
exhibition change
Ludwig Kittinger ,Songs of Increase‘
dimmed light 20%
















Martin Chramosta ,Philesota‘, 2023
Lackierter Stahl, Keramik glasiert, Beton
261 x 50 x 26cm

Martin Chramosta ,Fish’n Justice‘, 2023
Keramik glasiert, Eisen
35 x 23cm

Ludwig Kittinger ,Red‘, 2023
Enkaustik auf Holz
130 x 91 cm

06. & 13. Juli 2023
exhibition change
Ludwig Kittinger ,Songs of Increase‘
dimmed light 20%
















Detailansicht Martin Chramosta ,Philesota‘, 2023
Lackierter Stahl, Keramik glasiert, Beton
261 x 50 x 26cm

06. & 13. Juli 2023
exhibition change
Ludwig Kittinger ,Songs of Increase‘
dimmed light 20%
















Martin Chramosta ,Fish’n Justice‘, 2023
Keramik glasiert, Eisen
35 x 23cm

06. & 13. Juli 2023
exhibition change
Ludwig Kittinger ,Songs of Increase‘
dimmed light 20%
















Martin Chramosta ,Minnedelphia‘, 2023
Lackierter Stahl, Keramik glasiert, Beton
198,3 x 30 x 25cm

20. Juli 2023
exhibition change
Martin Chramosta ,Philesota‘















20. Juli 2023
exhibition change
Martin Chramosta ,Philesota‘















Martin Chramosta ,Winterhafen‘, 2023
Eisen
100 x 100 cm

20. Juli 2023
exhibition change
Martin Chramosta ,Philesota‘
















20. Juli 2023
exhibition change
Martin Chramosta ,Philesota‘
















,Keradeniz‘, 2023
Eisen, Keramik glasiert
135 x 78 cm

20. Juli 2023
exhibition change
Martin Chramosta ,Philesota‘

















20. Juli 2023
exhibition change
Martin Chramosta ,Philesota‘
Installationsansicht

















Ludwig Kittinger ,Kärcher‘, 2022
Enkaustik auf Holz
35 x 25cm

20. Juli 2023
exhibition change
Martin Chramosta ,Philesota‘
















<Kyiv Biennale 2023 (Wien)>

Wir sind erfreut, mit unserem Offspace / Displayfenstern, einen (kleinen) Beitrag für diese
wichtige Unternehmung leisten zu können. Die Arbeiten von Daria Chernyshova sind ongoing
und ebenfalls im Laurenz Space zu sehen.
«Kyiv Biennale 2023



Daria Chernyshova
Intuitive Practice (2019 – Ongoing)
02.01.2021 – graphite, ink, colored pencil on paper
24.07.2021 – graphite, ink, letraset, pastel,
cotton and jute thread on paper
21 x 30 cm

















Daria Chernyshova
Intuitive Practice (2019 – Ongoing)
24.12.2022 – graphite, ink, pastel, on paper
12.10.2022 – graphite, ink, pastel, wax pastel, colored pencil,
cotton and jute thread on paper
21 x 30 cm








<Jennifer Gelardo>

Drama of Consensus
01.06. – 15.06.2023
«Exhibition as Desired Space
text by Max Klawitter
















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 – Richard Ess, Hunter College 2018
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 – Simon Speiser, Stuttgart 2014
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:
This exhibition has the title “Drama of Consensus” and we are going to talk about it 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 of 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 them as part of your work and your research on the 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:
… as an artist, before even taking on or doing the job as an exhibition photographer, before taking on this vocation, I’ve also been staging performances that question what it is, that we’re doing as artists and what this project is, in terms of the human animal, as I like to say after having read Donna Haraway, to put things into a biological context; We as beings need exhibitions for some reason or another. Since 15 years now, this has been a persistent 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, to earn my living. I also like this thing of being immersed in the community with other artists. 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 would answer the question, right?

Beatrice:
Yes.

Jennifer:
Well then, over the course of time, I came to look at these photographs as windows into the 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 decided to share this overview that I acquired for myself, in an exhibition at 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, and share them in an exhibition of my own.

Beatrice:
Yes, and what I like is that this also multiplies the possibilities, also of your exhibition here, because of embedding traces that bring an echo of other spaces. In that way you involve a multiple view, that also has influenced your work of thinking about your own desired space in your own exhibition spaces. I like the idea tackling this network that came about through a job that you didn’t think of initially, as your art practice – that of an exhibition photographer, but then turning it into a personal study. In that way there is an echo and there are traces that enter in this space. The decision to show them in this form, encarved into acoustic foam, adds another layer and creates more distance but also makes them more sensual. Because when I see them now, I can see that there is something also very personal, that is not just documentation – it becomes 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










<Sebastian Koeck>

Cave Wars
27.04. – 11.05.2023

is re-examining the third largest media-spectacle of the interwar period:
the demise of Floyd Collins, the greatest cave explorer ever known.




a spelunker, an artist and a teenager
– a fictitious dialogue about Sebastian Koeck’s
exhibition Cave Wars at Ve.Sch
by Leonie Huber











Part of Misfits, 2023
free used shelving, modified by previous owners
size variable













Greatest Cave Explorer Ever Known, 2023
cardboard, glue
440 x 350 x 105 mm
















Abandoned Ticket Booth, 2023
cardboard, epoxy resin, graphite, fishing flies, drawing
450 x 330 x 100 mm
















Part of Misfits, 2023
free used shelving, modified by previous owners
size variable

Rejects, ongoing
discarted autoexport-flyers
size variable















Discovered Crystal Cave, 2023
cardboard, acryllic sheet, twist wire, glue, epoxy resin, graphite,
stripped LED candle electronics, AA batteries
350 x 170 x 70 mm
















Part of Misfits, 2023
free used shelving, modified by previous owners
size variable

Rejects, ongoing
discarted autoexport-flyers
size variable















Untitled, 2023
dimmer module
variable














Installationsansicht














Open Casket with Chains, 2023
cardboard, acryllic sheet, twist wire, glue
150 x 50 x 40 mm

Rejects, ongoing
discarted autoexport-flyers
size variable















Freie Sammlung Wien Nr. 34
Open Casket with Chains, 2023
cardboard, acryllic sheet, twist wire, glue
150 x 50 x 40 mm















Open Casket with Chains, 2023
cardboard, acryllic sheet, twist wire, glue
150 x 50 x 40 mm

Rejects, ongoing
discarted autoexport-flyers
size variable















Part of Misfits, 2023
free used shelving, modified by previous owners
size variable

Rejects, ongoing
discarted autoexport-flyers
size variable















Discovered Crystal Cave, 2023
cardboard, acryllic sheet, twist wire, glue, epoxy resin, graphite,
stripped LED candle electronics, AA batteries

350 x 170 x 70 mm














Discovered Crystal Cave, 2023
cardboard, acryllic sheet, twist wire, glue, epoxy resin, graphite,
stripped LED candle electronics, AA batteries

350 x 170 x 70 mm














Floyd Collins Shrine, 2023
two stacked plastic chairs with natural patina, stickers
850 x 540 x 400 mm
















Floyd Collins Shrine, 2023
two stacked plastic chairs with natural patina, stickers
850 x 540 x 400 mm
















Floyd Collins Shrine, 2023
two stacked plastic chairs with natural patina, stickers
850 x 540 x 400 mm
















Breeze, 2023
open front door, open back door
no size
















Secret, 2023
laminated note
autoexport-flyers-sized








<Fernando Mesquita>

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















<Markus Krottendorfer>

LOOK
16.02. – 02.03.2023


aus der Serie Terminal 2017 / 2023












Ausstellungsansichten





























Settingkorrektur mit Farbfolien, Dimension variabel, 4-teilig













aus der Serie Powerplants, 2021



























aus der Serie Powerplants, 2021



























aus der Serie Powerplants, 2021



























Settingkorrektur mit Farbfolien, Dimension variabel, 4-teilig








































BeAuTiEs oF ThE niGhT
Live
















Markus Krottendorfer
Freie Sammlung Wien Nr. 33
Binocular, 2021
C-Print
















<Michael Fischer / Paul Gründorfer>

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








<KIKI de POP>

Live – Meeting between Glitter and the Dark / Electronic Winters

KIKI de POP tritt mit selbst producter Musik auf, die sich experimenteller und Pop-Elemente bedient.
Die Palette reicht von düster, überdreht-ironisch hin zu einnehmenden Beats und verletzlichen Chorälen.
Dazu gesellen sich performative Visuals.






<Samuel Schaab & Benjamin Tomasi aka Hall>

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.






<LOVESONGS>

by Lissie Rettenwander

„Ich werde die Lieder singen, mich mit der (E)Gitarre begleiten, erzählen, wie, wo, warum etc. sie entstanden sind…. warum ich keine Texte mehr schreibe, ein paar Stegreif-Pseudo-Lieder einbauen und vielleicht Eva Illouz Suhrkamp Bücher herum liegen lassen.“








<Hiroshi Takizawa>

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.









<Uwe Pop-Choi>

Stand-Up Comedy in the Name of Sit-Down Tragedy
Speak Easy von Jennifer Gelardo








<Mona Matbou Riahi>

Hearing From An Unfolding Revolution
Soundperformance 
«Live















<Scott Clifford Evans>

,Direct-To-Video‘
eine Posterserie von nicht existierenden Filmen
17.11. – 01.12.2022


Jenya Kukoverov (vom Künstler*innenduo EliKuka)
performt in einem Livekonzert Partituren der nicht existierenden Filme

eine kollaborative Zeichnung komplettiert das ‚hallowed partyboat frieze‘
&
Popcorn!











Ausstellungsansichten








PIZZERIA CANNIBALE
AFTER A RESTAURANT INSPECTOR THREATENS TO SHUT DOWN SALVATORE´S PIZZERIA, HE CHOKES ON A SLICE OF QUATTRO SALAMI. TO HIDE THE BODY, THE FRANTIC CHEF CHOPS HIM UP AND PUTS HIM INTO A CALZONE, COCKING IT TO AVOID ANY FOUL ORDERS. THE NEXT MORNING, SALVA AND HIS WIFE ARRIVE AND DISCOVER THAT THE CALZONE HAS ACHIEVED CONSCIOUSNESS… AND IS HUNGRY FOR HUMAN FLESH. IF YOU STEP INTO THIS PARLOR OF DEPRAVITY, THE NEXT SLICE MAY BE…
YOUR LAST!











PARTYBOAT
A BAND IN IT´S GOLDEN PARTY YEARS TRIES TO SHOOT A MUSIC VIDEO ON LAKE POWELL IN SOUTHERN UTAH. THE SHOOT QUICKLY UNRAVELS INTO PARTYFUELED CHAOS. A CURSE IS UNLEASHED. BODIES BEGIN TO MELT, BUT NO ONE CARES. ONLY A MUSIC JOURNALIST REMAINS TO TRY TO CAPTAIN THIS SHIP OF FOOLS TO SAFETY. BUT CAN SHE ESCAPE THIS DEADLY CURSCE?










THE MUMMIES OF CHAUCHILLA
AN ARTIST-RESEARCHER TRYING TO RECREAT A MUMMY’S VOICE DISTURBS HIS SCUMBER.
ONLY A CHOLITA WRESTLER CAN STOP WHATS BEEN UNLEASHED, AN ANGRY NAZCA MUMMY HUNGRY FOR BLOOD.











Paryboat 2, 2022
Collaborative drawing
200 x 340cm

































THE GREEN HELL
THE YEAR IS 2076. THE WORLD IS A FASCIST-RUN DYSTOPIA, WITH SOCIETY PACIFIED BY SPECTATING THE ONLY STATE-SPONSORED SPORT, A RACE TO THE DEATH. MOST PARTICIPANTS RACE FOR GLORY, FAME, OR SIMPLY TO SURVIVE, BUT THIS YEAR, ONE MASKED CONTESTANT TO BRING THE WHOLE FUCKED-UP SYSTEM CRASHING DOWN.




















Rat Rights (Thomas Brandstätter & Michelle Bagel)
with a Release of a cassette tape of Jenya Kukoverov’s
‚Direct-To-Video‘, musical scores for films that don’t exist.











Freie Sammlung Wien Nr.31
Popcornmachine, ongoing
65x35x135 cm


































<Johann Neumeister>

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








<Mia Zabelka>


Quantum Noise, 2022

<Anja Kohlweiss>

,Banana Pose‘, 2022
Performance






<Flora N. Galowitz>


Whan A Rapper Came To The Afternoon Tea
15.09 – 29.09.2022








Ve.Sch.Lampe, 2022
Metall, Kunststoff, Lack
190 x 40 x 28 cm
Freie Sammlung Wien #29














Versuch einer Kleintierplastik
Fig. 3 (Replikat/Schwarz), 2022
Acrylnitril-Butadien-Styrol
39 x 19 x 19 cm













Whan A Rapper Came To The Afternoon Tea
Austellungsansicht












Versuch einer Kleintierplastik
(Replika 2019), 2019
Alufolie
38 x 17 x 17 cm



























Freie Sammlung Wien #29
Ve.Sch.Lampe, 2022
Metall, Kunststoff, Lack
190 x 40 x 28 cm
















Versuch einer Kleintierplastik
Fig. 4 (Replikat/Gelb), 2022
Acrylnitril-Butadien-Styrol
39 x 19 x 19 cm

(Replika 2019), 2019
Alufolie
38 x 17 x 17 cm

Fig. 3 (Replikat/Schwarz), 2022
Acrylnitril-Butadien-Styrol
39 x 19 x 19 cm

Fig. 5 (Replikat/Transparent), 2022
Acrylnitril-Butadien-Styrol
38 x 17 x 17 cm




















Versuch einer Kleintierplastik
(Tanzender Hund), 2016
Zeitungspapier / Kleister
39 x 19 x 19 cm











<David Schweighart, Daniel Lercher & (k)ein Klavier von Felix Lenz>

Soundperformance
How To Ask A Hyperobject For Directions

































<Martin Arnold>

In Tinseltown, 2022
Color, sound, 2:14min, loop
Installationsansicht (Bild und Ton voneinander getrennt)





















<Diana Barbosa Gil, Miguel António Domingues>

,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














<Nikolaus Ruchnewitz>


sehr fesch (Nikolaus Ruchnewitz spielt endlich wieder vinyl!)













































<Christian Schröder>

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
































































<Karolina Preuschl>


Me And My Rhythm Ace
«Livesnippet 01
«Livesnippet 02









<Clemens Tschurtschenthaler>

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














<Amar Priganica>

,Die Predigt 2022′
09.06. – 25.06.2022


Displayansicht
Bühne / Kanzel, 2022
Freie Sammlung Wien #27
Edelstahl, Rigips, Eisen, Spachtelmasse
200x200x85 cm

























Performance ,Die Predigt‘, 2022
16.06.2022, 180min













Performance ,Die Predigt‘, 2022
09.06.2022, 60min




























Displayansicht
Bühne / Kanzel, 2022
Freie Sammlung Wien #27
Edelstahl, Rigips, Eisen, Spachtelmasse
200x200x85 cm












Old Fashioned (Amar Priganica)
4cl Knob Creek Rye
Angostura Bitter
mit Eiswürfel rühren
Orangenzeste












<Maureen Kaegi>

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



















<Günter Puller>

Red Be All The Gold #9
Story, Libretto, Composition, Musical Performance, Singing, Sound, Script,
Storyboard, Animation, Cut, Sculptures, Set, best Boy,
-> Günter Puller, May 2022


,Stutz1 – Papierarbeit und Installation‘, 2022

















Against Presumable Green, 2022





















Stutz 2 – Papierarbeit und Installation und Spiegel Tisch Arrangement














storyboardanimation
Red Be All The Gold
excerpt A and B















<A live setting by Michael Fischer & Albert Mayr>










































<Karoline Dausien>

Darktown
21.05. – 05.05.2022
















Fountain (Darktown), 2022
glasierte Keramik, Plastikschlauch, Brunnenpumpe, Rotwein
Freie Sammlung Wien #25

















Ausstellungsansichten






























Fountain (Darktown), 2022
glasierte Keramik, Plastikschlauch, Brunnenpumpe, Rotwein
Darktown, 2022
Collage, Material & Dimension variabel




















Cups, 2021/22
glasierte Keramik







































Bielefeld, 2020
glasierte Keramik, Stahl




















<Flavio Palasciano>

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
























<Hannah Hansel>

after the sun it rains again
17.02. – 03.03.2022











Selbstklebendefolie
self-adhesive film
















Freie Sammlung Wien #23
in Kombination mit der Tür
Gouache und Spray auf Leinwand
gouache and spraypaint on canvas





























Tintenstrahldruck auf Papier
inject print on paper

Nagellack auf Glas und Papier
nailpolish on glas and paper



























Gouache und Spray auf Leinwand
gouache and spraypaint on canvas













Tintenstrahldruck auf Papier, Glas, Post-it
inject print on paper, glas, Post-it












Gouache auf Pappe, Papier, Selbstklebendefolie Glas
gouache on cardboard, paper, self-adhersive film, glas


















Nagellack auf Papier, Glas, Post-it
nailpolish on paper, glas, Post-It

Lippenstift und Buntstift auf Leinwand
lipstick and pencil on canvas











Nagellack auf Papier, Glas, Post-it
nailpolish on paper, glas, Post-It













Lippenstift und Buntstift auf Leinwand
lipstick and pencil on canvas


















Gouache auf Papier, Glas
gouache on paper, glas


















Selbstklebendefolie
self-adhesive film















































<Andreas Trobollowitsch>

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











<WEGWERFPIZZA>

LP-Release
Die Platte in einer limitierten Auflage,
jedes Cover ein handgemachtes Unikat







<Text Christian Egger>

<Saltbox catslide roof>

Julia Hohenwarter, Peter Höll, Anna Hostek, Oscar Perry,
Zlatan Pintek, Aline Sofie Rainer




Oscar Perry ,Oscar Perry Hof‘, 2019
Polystyrene, paint
ca 0,60 x 10 m









Peter Höll
,Ohne Titel‘, 2018/19
Eichenholz, Eschenholz, Stahl ca.50x50x450 cm









Aline Sofie Rainer
,Growing Thorns instead of Thicker Skin‘, 2019
Welded/bent steel, steel wire, wax, paper, ink, coffee
dimensions variable









Anna Hostek
,Melie & Tree‘, 2019
Mixed Textiles, Wood, Steel
230×150 cm














Julia Hohenwarter
,SHUTTER‘, 2019
Tiefdruck und Pigment auf Papier, Stahl, Bewehrungsgitter, Kunstschmiedelack, Glas Maße variabel
Gravure print and pigments on paper, steel, reinforcement grid, blacksmith coating, glas








Zlatan Pintek
,Janua Coeli‘, 2014 Plastic barrels, metal, car tire
dimensions variable








<Nicolas Jasmin>

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

















<DUMMIES & CLOWNS>

Julius Pristauz, Alfred Rottensteiner
Performance, Ausstellung






Julius Pristauz
Routine Routine (pink & purple), 2021
Abdeckkappe, Schuhbänder






Alfred Rottensteiner
Alfred goes Pampadudada; Hello crocodile!, 2021
performance









Julius Pristauz
Wer bin ich?, 2021
performance with Marie-Claire Gagnon, Franziska Klein, Luna Mican









Alfred Rottensteiner
Detailansicht: SANARE Zelle, 2021
Kunstrasen, Yogamatte, Gummibaum im Glas, Geschenk, Metallkrokodil
Sound: Sprechakt mit Meditationsmusik 46:10min








Alfred Rottensteiner
Alfred goes Pampadudada; Hello crocodile!, 2021
performance

Changing Room; I kill myself again and again and again … !, 2020
Acryl und Öl auf Leinen, Metall und Tüll

SANARE Zelle, 2021
Kunstrasen, Yogamatte, Gummibaum im Glas, Geschenk, Metallkrokodil
Sound: Sprechakt mit Meditationsmusik 46:10min









Julius Pristauz
Untitled (Wer bin ich?), 2021
Passepartout, beschriebene Karteikarten, Objektrahmen









<Kerstin von Gabain>

Umeå
09.09 – 24.09.2021
















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















































<Julia Hohenwarter>

– G –

29.07. – 13.08.2021



G (FREIE SAMMLUNG WIEN #19)
soot pigments and distemper on athletic mesh fabric, steel
373 x 51,5 x 2,5 cm











IMAGINE A WAY OF INHABITING SPACES AS IF THEY WERE SHARED EXPRESSIONS
OF OUR WAY OF BEING IN THE WORLD, 2021
manuel gravure print and soot pigments on paper, steel, blacksmith coating, glas, aluminum
3 parts, each 285 x 66,7 x 7 cm





















COSMIC CATERPILLARS

oder Schwerkraftprinzipien
Zwei Körper in einem Raum, mitten im Gespräch stehend.

eins: …und deswegen zieht’s die im Weltall förmlich zusammen – statt ein J zu bilden, kringeln sie sich zu einem G–

zwei: Spürst du? Hier zieht’s so auffällig.
Fenster fällt wie auf Kommando zu.

zwei: Besser. Hätte mich sonst auch gleich verzogen.
Zugluft kann ich nicht ausstehen.

eins: Sobald ich versuche, ein reizendes Thema aufzuziehen,
wirst du von jeder Scheiße abgelenkt und die ganze Unterhaltung fällt ins Wasser.

zwei: Das stimmt nicht. Ein Zufall. Wo sind wir stehengeblieben?

eins: Bei Faltern. Im Raupenstand.

zwei: Verstehe. Was ist mit denen?

eins: Die werden im All anfällig – verlieren, sobald die Schwerkraft entfällt,
jeglichen Orientierungssinn.

zwei: Mir würd’s dort auch nicht gefallen.

eins: Die Chancen, das empirisch zu überprüfen, stehen für dich eh nicht besonders gut… finanziell gesehen. Jedenfalls steht ihre ganze Verwandlung ohne Erdanziehung auf der Kippe. Unter normalen Umständen bedienen sie sich der Schwerkraft, um–

zwei: Der Weltraumtourist verwandelt sich angeblich ebenfalls.
“Niemand kommt unverändert !zurück,” sagt der Milliardär im All.

eins: …sie suchen sich die seltsamsten Positionen für ihre Puppenphase aus,
nachher entfalten sich die Flügel kaum. Außerdem haben die Kokons eine andere Form, die zieht’s zusammen, zu einem G eben.

zwei: Dem Buchstaben?

eins: Dem Buchstaben. Auf der Erde formen sie mühelos ein J.

zwei: Glaubst du, das ist als newtonsches Statement gemeint? Oder dass sie im schwerelosen !Raum buchstäblich nach der Gravitation rufen? eins: Ich glaube, nicht alles ist eine politische Metapher. Ist eben ein schwerkraftbezogenes Raupenalphabet.

zwei: Raupenstatement? Ein kleiner Schritt für die Raupe, ein großer Schritt zu schwerelosem Erfolg.

eins: Raupenalphabet. Manchmal sind Sachen eben einfach nur Sachen.
Vorhang fällt.

Dominika Julia Homa, 2021
















GRAVITY, 2021
galvanized metall wire
dimensions variable













<David Moises>

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









<Paula Thomaka>

One for me & One for you
DJ Set von Antje Cordes (@antjemariagonzalez)
Plakat von Lena Thomaka (@lenathomaka) und Vanessa Eck (@vavavinvin)
Lecture