<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
















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










<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


















<Herbert De Colle>

one above and one below
17.06. – 01.07.2021
«Text Carrick Bell




Poster, 2021
Dimension variabel
Freie Sammlung Wien #18












Courtney Love/Kurt Cobain, 2021
Collage, Eisenrahmen/Collage, iron frame
118,9 x 84,1cm


































FOREVER, 2021
Poster, gefranst/fringed poster
84,1 x 59,4 x 5cm













PEACE, 2020
Aluminiumguss/aluminium cast
35x55x35 cm














LOVE, 2021
Poster, gefranst/fringed poster
29,7 x 21 x 3 cm



































<The Sea by Paul Gründorfer + Leo Peschta>

The Sea is an immersive, auditive visual sculpture, an extraction of a complex natural phenomenon developing
a life-form of its own – a dystopian vision of an artificial generator. deep sea-fiction
“The sea, once it casts its spell, holds one in its net of wonder forever.” Jacques Yves Cousteau




generative audio installation, 2020/21
2,5m cube, latex foil, motors, PD-0.50-2









<Christophe de Rohan Chabot>



punisher@Ve.Sch
exhibition and reading
«text by Amar Priganica

sublimation print on aluminium
50x50x50cm

















































<Olivia Coeln>

Carps
13.05.-29.05.2021
Text von Niklas Lichti



Ausstellungsansicht













,untitled‘, 2021
95 x 74 cm
Pigment on Pigmentprint, Acrylic Glas,
Resin










,untitled‘, 2021
56 x 41 cm
Pigment on Pigmentprint
Acrylic Glas
Resin











,untitled‘, 2021
37 x 28 cm
Pigment on Pigmentprint
Acrylic Glas
Resin











,untitled‘, 2021
37 x 28 cm
Pigment on Pigmentprint
Acrylic










,untitled‘, 2021
37 x 28 cm
Pigment on Pigmentprint
Acrylic Glas
Resin









,untitled‘, 2021
95 x 74 cm
Pigment on Pigmentprint
Acrylic Glas
Resin










,untitled‘, 2021
95 x 74 cm
Pigment on Pigmentprint
Acrylic Glas
Resin










<Text Niklas Lichti>

Niklas Lichti

<ELEKTRAE>

Soundaktion
ohne Publikum
eingeladen von Hans Jürgen Hauptmann
« Mitschnitt








ELEKTRAE sind die Programmiererin und Musikerin Sophie Kim, die Modedesignerin und Lehrbeauftragte für Mode (u.a. an der Akademie der bildenden Künste Wien und an der Linzer Kunstuniversität) Valerie Lange und die Projektkoordinatorin und Texterin Gisa Fellerer. Entstanden ist diese Formation zum einen durch jahrelange Freundschaft und die gemeinsame große Liebe zur Musik zum anderen durch den Wunsch, im Wiener Nachtleben-Portfolio mehr Frauen unter den Veranstalter_innen anzutreffen. ELEKTRAE sorgt ab Herbst 2013 im Wiener Club Celeste für gute Unterhaltung, gastiert ab und an im FLUC am Praterstern und zählt von 2014 bis 2016 zu den Residents im ELEKTRO GÖNNER in der Wiener Mariahilfer Straße. 2017 und 2018 fanden die monatlichen Club-Abende im RHIZ am Wiener Gürtel statt. Das Kollektiv gastierte 2017 auch beim renommierten Donaufestival in Krems und umrahmte das Pre-Opening des Carinthischen Sommers 2017 musikalisch..

Der Stil des Kollektivs lässt sich mit wenigen Worten umreißen:
Die Musik ist hart, der Raum ist dunkel.
Das Portfolio von ELEKTRAE umfasst Industrial, Techno ebenso wie Noise-Variationen,
deren Intensität in den dunklen Beats der Tracks aufgehen.







<Text Sigrid Mau>

<Sigrid Mau>

,What is it about painting that would make you so proud?‘
Lesung, Performance, Malerei
eingeladen von Amar Priganica
«Text


,IN A DREAM YOU SAW A WAY TO SURVIVE‘, 2020
Oil on canvas
160×120 cm












,Head‘,2020
Oil on canvas
27x27cm













,Head II‘, 2020
Oil on canvas
27x27cm









<Text by Myles Starr>