Yigal Ozeri – My New Home

Yigal Ozeri – My New Home

Galerie Ernst Hilger, Vienna

until 28 August 2020

With A New York Story, Ozeri is now embarking on a new type of imagery. Influenced by the ideas and images captured by several contemporary street photographers, he has taken his figurative paintings in a decidedly urban direction and is looking at the spontaneous energy of New York Streetlife. He has walked around Chinatown, gone into the subways, entered barbershops and all sorts of stores, and has prowled around NYU with his camera in hand. Shaped by the ideas, lighting and compositions of Philip-Lorca di Corcia, Ozeri juxtaposed people and places that did not necessarily go together all the while, taking hundreds of pictures, not a single shot imagined worthy of a painting. 

Yigal Ozeri, Untitled (Zuzanna); Subway Series
2020
Yigal Ozeri, Untitled; A New York Story
Yigal Ozeri, Untitled; A New York Story
Yigal Ozeri, Untitled; A New York Story
Yigal Ozeri, Untitled; A Tel Aviv Story


LOUIS K MEISEL

NO SIGNAL, a solo exhibition by the Mexican artist G.T. PELLIZZI.

NO SIGNAL, a solo exhibition by the Mexican artist G.T. PELLIZZI.

Galerie Kandlhofer, Vienna

Until 18 July 2020

The exhibition contains two related bodies of work. The first are a series of tapestries modeled after test cards used to calibrate broadcast signals and for color correction in television and film. The second group of works is a series of light sculptures using incandescent bulbs and steel conduits whose compositions are modeled after old circuit and communications diagrams. 

G.T. PELLIZZI, NO SIGNAL (TEST PATTERN TAPESTRY 4), 2018
Sheep wool and natural dye
120 x 217 cm
47 1/4 x 85 3/8 in

The tapestries were created in collaboration with weavers from the town of Ayacucho in the highlands of Peru. Ayacucho is known for its rich arts and crafts traditions. It is a region that was originally inhabited by the pre-Inca Wari culture, which is also known for its elaborate textiles. For all indigenous cultures the textile was the screen on which they would weave their stories and myths. Ayacucho was the epicenter of the armed conflict and violence that gripped Peru for the better part of the 80’s and early 90’s. Today, with globalization, many indigenous communities struggle to maintain their traditional customs and cultural identity. The collapse of their local economy is also one of the primary causes of migration. Languages, traditions and crafts are rapidly disappearing. In the digital age, the weaving process, which can take months to complete, is antithetical to the immediacy promoted by today’s technologies. 

G.T. PELLIZZI, NO SIGNAL (TEST PATTERN TAPESTRY 6), 2018
Sheep wool and natural dye
160 x 120 cm
63 x 47 1/4 in

Television became the screen through which new myths and ideologies were imparted. Test cards are an obsolete analogue tool once used to calibrate television monitors and cameras. They remain a testament to how film was calibrated for white skin tones. They are also stand-ins for broadcast signals, representing the control when television dominated the transmission of information. In many cases, a coup d’etat was presaged by the cutting of the television signal, as the control of information was the most effective way to maintain power. In todays globalized and information age, media communication has become more decentralized, therefore making it harder to control, but also making people more susceptible to fringe manipulations in a more fragmented society.

G.T. PELLIZZI
INSTALLATION VIEW VIII: NO SIGNAL, 2020

Rhizome – Images of Thought

Rhizome – Images of Thought

Galerie Kandlhofer, Vienna

6 MARCH – 16 MAY 2020

Open by Appointment

Galerie Kandlhofer presents the multimedia exhibition Rhizome – Images of Thought, with works by five international female artists. The works of Tali Lennox (*1993 London, UK), Jillian Mayer (*1986 Miami, US), Nana Mandl (*1991 Graz, AT), Siggi Sekira (*1987 Odessa, UA) and Katerina Zbortkova (*1986 Tabor, CZ) are exemplary of a generation that has made cutting-edge practices, the interest in collaboration and material transformation its guiding principles. 

Rhizome shows new works from the fields of painting, sculpture and video installation as manifestations of artistic images of thought.  The group exhibition develops a practice of expansion of reality, which leads to a reflection on one’s own experiences and the resulting consequences. The observation of an event influences its reality as well as the result. This phenomenon is just as applicable to the smallest scales, when nature follows the laws of quantum mechanics, as to the observable world with its everyday situations.

The rhizome, a philosophical concept developed by Gilles Deleuze and Félix Guattari, comprises a non-hierarchical leitmotif that counters traditional linear classification systems. The term is used in botany to define a rooted plant structure, and its philosophical-metaphorical meaning stands for a multi-branched, cross-referencing, continuously growing model of knowledge. Rhizomes permanently generate connections and ideas, while rejecting classification and dichotomy.¹  Rhizome – Images of Thought articulates a positioning a well as a repositioning through art and questions internalized knowledge. The implementation of this idea repeatedly incites new stimuli, which generate new interpretations and discussions. As a result, connecting elements are continuously being discovered and alternative ways of action are created. The meaning of one’s own role, as an observing and interpreting subject, manifests itself in the transformation of events by way of their contextualization. 

In her colourful collages, pictures, prints, and sculptures, Nana Mandl(*1991 Graz, AT) develops possible visual transformations and translations of the challenges and the excessive demands of today’s media. Her haptic collages combine elements of painting, embroidery and drawing with forms of the communicative and representative spheres of advertising, fashion and social media. Her multilayered works also reflect the globalized patchwork society in which we are living in today. 

The artist Jillian Mayer (*1986 Miami, US) explores the impact of the digital world on our lives, our bodies, and our identities. Her so-called “slumpies” celebrate those invisible networks that are tightly intertwined through Instagram, Snapchat, Twitter, etc. and support the use of the telephone in a pleasant way. Mayer’s videos such as “I Am Your Grandma” are autobiographical diary entries, which the artist records for her unborn grandchildren. The work questions notions of mortality, fame, and the universal impetus for creation and legacy. By placing the video into a public forum like Youtube, Mayer investigates phenomenologically why people ultimately share their personal feelings with anonymous strangers. 

The sculptures by the artist Siggi Sekira (*1987 Odessa, UA) reinterpret Slavic mythology and investigate the coexistence of paganism and Christianity in rural, post- Soviet Ukraine. Pottery is exemplary of Ukrainian folk traditions and a form of cultural expression of the working class. With her sculptures, Sekira creates her own worlds alongside our present-day society and shows two works from the series „The Eve of Nymphs”, which are based on the Slavic fertility ritual of Ivan Kupala. 

Katerina Zbortkova’s (*1986 Tabor, CZE) series of paintings star Lil Miquela, a real life mannequin, sculpted by her Silicon Valley puppeteers. She lives in an unsettling fantasy world, engineered by Instagram algorithms and patriarchal beauty standards. In each of these exuberant canvasses Miquela is seen enacting various viral internet phenomena of the 21st century. Seemingly ephemeral online obsessions such as ‘what colour is the dress’ and ‘cats vs cucumbers’ are resurrected here in oil, from URL to IRL. To her fans Miquela is an inspiration. The sincerity of her online confessionals, and the energy of her perky pop music speak to a generation searching for a feeling. 

The paintings of  Tali Lennox (*1993 London, UK) are links and mediators between our real-life sphere and the spiritual one. Her impressive portraits draw parallels between German art of the 1920s and of the current 2020s. Lennox describes in particular the latter as a time of political and ecological decline, which captures the glittering escapism in a time of impending uncertainty. The people portrayed in Lennox’s work are mostly strangers whom she meets on the streets of New York and then photographs in a staged fashion that matches their stories. ¹ Gilles Deleuze & Félix Guattari: A Thousand Plateaus. Capitalism and Schizophrenia. University of Minnesota Press, Minneapolis, London, 1987.

Images > RHIZOME – IMAGES OF THOUGHT, INSTALLATION VIEW IV (NANA MANDL, JILLIAN MAYER, SIGGI SEKIRA, KATERINA ZBORTKOVA), 2020 Courtesy Galerie Kandlhofer, Vienna

THOMAS REINHOLD / MARUŠA SAGADIN

THOMAS REINHOLD / MARUŠA SAGADIN

CHRISTINE KÖNIG GALERIE, Vienna

Until 11 Apr 2020

Due to the Covid-19 emergency the exhibition might be closed to the public until further notice. We invite you to CLICK HERE and check the website of the organizers to find the latest information and updates about the current situation.

The sculptress Maruša Sagadin and the painter Thomas Reinhold represent two very distinct, individual positions that follow completely different aesthetic paths. And yet experimental arrangements can be found in the works of both artists, allowing a joint exhibition: the playing with the unexpected, the dialect of form and resolution. Maruša Sagadin produces coloured, vertically towering geometric modules reminiscent of skyscrapers. Or horizontal structures in the form of benches on which the viewer would preferably rather sit down straight away. Both artistic positings are complemented or contrasted by irregularly rounded or jagged forms.

The viewer experiences this as an artistic reductionism of the Apollonian and the Dionysian, of manneristic proliferation and of rational quasi-architectonic language of forms.In Thomas Reinhold’s work, the abstract ballet of lines and blotches, generated by processes of pouring, first strikes the eye, dominating the picture space in coloured graduations between pastel colours and bold colours, between hot and cold. Yet that which could be presumed to be a continuation of the Drip Paintings of Jackson Pollock or the poured paintings of Hermann Nitsch is in reality the result of an almost mathematical experimental arrangement, which pre-structures the painting process in sketches, and which then evolves with a certain desire for the unexpected and for the aleatoric: the directions of the pouring of the colours are predefined, and during the process are frequently adjusted to the situationally altering given conditions.

In this way, in the multiple repetition of the process, superimpositions occur and palimpsest-like structures emerge.Just as one imagines to be able to read landscape forms or impressionistic hallucinations of form out of Thomas Reinhold’s immaterial configurations, in the architectonic-functional figures by Maruša Sagadin there are narratives which do not disclose themselves via the process of observing, but instead operate virtually as background radiation; and in the displaced applications to the geometric repertoire of forms push outwards – something like references to feminine and feministic topoi that are evoked through pop- and comic-like oversimplifications/enlargements of body parts. The work deals with an anthropomorphisation of materially bound objectivity, with the questionable gender connotations that are connected with spaces, and with the relationship between the private and the public sphere that makes infrastructures, as functionally interpretable objects, out of leaps in dimensions. In short: an unsettling interplay between social utility and a playful Stop Making Sense that would like to counteract socio-political stereotypes.”We can only perceive the world as it appears to us,” as the philosopher Christoph Türcke once wrote.

“But appearances are always merely an exterior: appearances of something, that itself does not appear.” Both Maruša Sagadin and Thomas Reinhold lend this ‘something’ an artistic form that would like to help that which is hidden not necessarily ‘to appear’, but to provide it with an aesthetic presence. Actuality and phantasm, reality and dream, control of being and irrational externalisation: in this way the compositional forms of abstraction and postmodernity develop new energy. (Thomas Miessgang, Vienna 2020)

Images > Installation view Courtesy the gallery and the artists, photo Philipp Friedrich

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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