VIENNA ART WEEK 2019 MAKING TRUTH

VIENNA ART WEEK 2019 MAKING TRUTH

November 15 – 22, 2019

Anna Jermolaewa, The Penultimate, Installation, 2017

From November 15 – 22, 2019, everything in Vienna will once again revolve around art: the VIENNA ART WEEK will focus attention on the city‘s comprehensive art scene and, together with more than 70 program partners, offer a rich program of events. Under the motto “Making Truth” the VIENNA ART WEEK 2019 sets out in search of the truth at a time when ”Fake News”, is prevalent.

On the occasion of the 15th anniversary of the VIENNA ART WEEK the Open Studio Day will be extended. For the first time, it will start on a Friday. Making use of the weekend (16 – 17 November) the Open Studio Days will offer a unique opportunity to take a comprehensive look behind the scenes of artistic production. For two days, curated exhibitions will present already existing as well as newly created works in selected studios.

Sophia Süssmilch, Kokon / Galerie Krobath

Networking and exchange are the leitmotifs of the VIENNA ART WEEK, which is why the online communication will also be put on a new footing: In the future, a digital insight into the art city of Vienna will be presented in a new design, offering a platform for the Viennese art scene throughout the year. The new website and the social media channels can be accessed as before.

Josephine Pryde, Who Were You?, 2016 

This year too, the varied program of the VIENNA ART WEEK ranges from exhibitions, discussions, tours, and guided tours through the exhibitions to a high-level program with lectures and talks on this year‘s motto „Making Truth“. Openings of important exhibitions at the Leopold Museum, the mumok – Museum moderner Kunst Stiftung Ludwig Wien, the Secession, Belvedere 21, and the MAK – Museum für angewandte Kunst are also part of the art week. The high-quality programs organized by the city‘s most important museums, exhibition halls, art spaces, educational institutions, and galleries provide a major contribution to the success of the Kunstwoche, which has become a fixed point in the city‘s cultural life since 2004 and, with around 35,000 guests from Austria and abroad, emphasizes Vienna‘s importance as an art city.

Michaela Schwarz Weismann – Second Thoughts, Galerie Ruberl, Vienna

Michaela Schwarz Weismann – Second Thoughts, Galerie Ruberl, Vienna

Michaela Schwarz Weismann – Second Thoughts
May 14 – July 18, 2019
Galerie Ruberl, Vienna

1973: Three filmed interviews, three great thinkers:
Hannah Arendt / Simone de Beauvoir / Angela Davis

2019: Three portrait series, 24 frames

Each interview second is split into 24 frames and painted. The results are 24 portraits, minimally altered, without repetitions. Each picture influences the next. Finally, all 24 oil paintings are reassembled into a film, gaining speed, rushing in an endless loop. A new rhythm arises.

Michaela Schwarz-Weismann:

“These seconds are words, one breath long or shorter, that I have carefully chosen from the interviews. They are vague words, hints, intermediate pieces: Beauvoir says‘très souple,’ Davis – ‘constantly,’ and Arendt – ‘of course not’ Nothing precise is revealed; it’s an invitation rather than an explanation. An invitation to deal again with the themes and contents of these thinkers. Human beings trapped in an endless loop between the past and the future. 1973 is also the year of my birth. SECOND THOUGHTS is a work about becoming, as a symbol of life and time in its essential movement. It’s a narrative measuring of time, a fortification and investigation of this brief moment between the past and the future, while addressing the issue of constructing the present.”

Thoughts and emotions are reflected in faces. Michaela Schwarz-Weismann’s intense portrait series intensify this by offering additional levels of interpretation and identification through deliberately chosen language fragments. Thus her narrative is also about thinking about thinking and about measuring time, inviting us – as she puts it – “to investigate this brief moment between the past and the future” which is necessary in order to understand and retell the present. (A. Grubeck)

All images > courtesy © Galerie Ruberl, Vienna 

James English Leary “Small Fishes Swim Around Inside of Large Fishes” at Galerie Kandlhofer, Vienna

James English Leary “Small Fishes Swim Around Inside of Large Fishes” at Galerie Kandlhofer, Vienna

James English Leary
Small Fishes Swim Around Inside of Large Fishes
Galerie Kandlhofer, Vienna
24 MAY – 29 JUNE 2019

Galerie Kandlhofer presents the exhibition “Small Fishes Swim Around Inside of Large Fishes” New paintings by James English Leary. 

It starts with a finger. Permanently hooked in. Pulling back the cheek like a fish, haha. “He drinks too…”, the person says. He eats like a moth but he drinks like a fish. The finger casts itself like a shadow onto the coin of the head. The person spends themself wisely. When they fight with each other they scream straight into the other’s finger. The scream casts a shadow. There’s a finger within the finger. An ideal and true finger. It still fits perfectly into the imperfect and familiar and calm one. The pragmatic hand pragmatically measures the head. It registers its surprise: “There’s a hand in my canned ham!” There’s a yam inside my yam. There’s a face emanating out of its finger in the form of a fingerprint. The head full of thumbs resembles a bowl of cooked yams. A face glides toy-like along the finger like a miniature train. There are many fingers reaching up under the skull’s dress. The fingers raise up weightlessly like seaweed. The face telescopes into what it sees. The body folds up into a tablet. It halves over and over, and when it’s small and hard like a pill, you pop it in your mouth and swallow.

HAND BECOMING THE THING IT IS TOUCHING (RED FACE ON LIGHT BLUE HAND), 2018


“Small Fishes Swim Around Inside of Large Fishes”, New York-based painter James English Leary’s second solo presentation with Galerie Kandlhofer, brings together a suite of works which continue the artist’s interest in the transposition of painted space into shaped grounds. These works take up the subject of the body at odds and converging with itself – the rhyming motifs of head-on-hand and hand-on-head. To coincide with this exhibition the artist has organized a group exhibition, “The Picture is a Forest” with recent works by Delphine Hennelly, Kathryn Kerr, Leigh Ruple, Nathalie Shepherd and Faye Wei Wei, whose works will be exhibited in Vienna for the first time. The works featured in this exhibition, while sharing strong allegiances to the problem of depiction, exemplify painting’s unique disposition to engage strategies of scale and space in the conjuring of intimacies and immensities.

HAND BECOMING THE THING IT IS TOUCHING (GREEN SHOUTING FACE CONTAINED BY A PURPLE HAND), 2018

James English Leary lives in New York City and works as an artist, filmmaker and teacher. He is a founding member of The Bruce High Quality Foundation and the Foundation’s free university, BHQFUIn 2010 his works were included at the Whitney Biennal and the „Greater New York“ Show at MoMA PS1Leary ́s recent solo exhibitions include “Another Family Romance”, Project Room, Galerie Lisa Kandlhofer, Vienna, 2018, “Hoi Polloi”, Nathalie Karg Gallery, New York, 2018, “Half a Mississippi Steamboat”, Andersen’s, Copenhagen, 2018, The Bursting Grape, Galerie Lisa Kandlhofer, Vienna, 2017, James English Leary & André Azevedo, SIM galeria, Curitiba, Brazil, 2017, “Family Romance”, Galeria Leyendecker, Tenerife, 2016, “Lady Chatterley ́s Lover ́s Lovers“, Four A.M., New York, 2016 and „Triple Motherfucker“, Vito Schnabel Projects, New York City, 2015. He is the recipient of a 2015 Tiffany Foundation Award and currently an adjunct professor at The Cooper Union School of Art.


PUBLICATION LISTED IN THE ITALIAN PRESS REGISTER BY THE SASSARI COURT OF LAW WITH REGISTRATION NUMBER 447/2017.
EDITOR IN CHIEF: ALICE ZUCCA

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