SIX SOLO SHOWS

THEAN CHI CHAN

JÓZSEF CSATÓ

STEFANIE DE VOS

HANAKAM&SCHULLER

LINUS RIEPLER

ANJA RONACHER

THEAN CHIE CHAN

born 1972 in Penang, Malaysia, lives and works in Vienna, Austria. He studied under Christian Ludwig Attersee at the university of applied arts in Vienna. The subtlety of the concept of these classic ink paintings is not only based on the restriction to one colour, but also in the minimalist juxtaposition of contrasts. Order verses Chaos –Thean Chie Chan is bringing two contrary concepts into a simple form. The lines resemble order, splattered paint stands for chaos and coincidence. The amorphous forms can be understood as a metaphor for humanity. Thean Chie Chan is using classic ink paintings to resemble his version of the modern human. In our individualistic society humans are separated from each other, but there is this fine line that connects us.

General

His latest exhibitions include: Unfassbar umrissen, Bank Austria Kunstforum, Wien (AT), 2018, solo, Air 2017, Krinzinger Projekte, Wien (AT), 2018, Michael Vonbank, Im Tintenfischgarten tief in mir – Erste Retrospektive 1990-2015, Galerie Kunst & Handel, Graz (AT), 2016, Mythen, Riten, Maskenspiele, Museum Krems (AT), 2015, solo, Zeichnungen, Galerie Krinzinger (AT), 2013, solo;

JÓZSEF CSATÓ

born in Hungary, 1980, lives and works in Budapest. József Csató takes the inspiration for his work from the long history of painting and its traditional genres: Still Life, Landscape Painting, Portraiture, Narrative and Abstraction. His works approaches these categories from a new perspective, combining them into unique hybrids. In his pictorial content, Csató assimilates art historical references with a visual language of the present – from tales to pop cultural iconography to fascinating surrealist scenes. Loose biomorphic figures merge into botanical forms, droplets, tiles, and other geometric shapes. The stylized objects in each composition are stacked to create a playful hierarchy and a curious representation of space. The vague work titles leave room for interpretation.

General

He graduated 2006 at the Hungarian Art-Academy under Dóra Maurer. 2013, 2014 und 2015 he won the Gyula Derkovits scholarship. Furthermore he received the renowned Esterhazy-Award. His latest exhibitions include: ENA Viewing Space, Not Enough Buckets to Hold the Tears of Joy, Budapest (HU), 2019, solo, Schloss Esterhazy, Interesting Collection from the Universe (AT), solo, Krinzinger Projekte, AIR Wien (AT), 2018, Kunsthalle, Derkó Now, Budapest (HU), 2015, solo, Krinzinger Projekte, Residency, Petőmihályfa (HU), 2015;

HANAKAM & SCHULLER

Markus Hanakam (born 1979 in Essen, Germany) and Roswitha Schuller (born 1984 in Riesach, Austria) both live and work in Vienna.

Markus Hanakam and Roswitha Schullers artistic work is characterized by an interest in objects, which are hybrids between art, design and everyday items. These objects are well suited to reflect on image production. Such as standardised plastic plugs, known form our day-to-day life. The artists create new objects with these plugs that appear to have no practical value. These returning protagonists in their installations, videos or prints exist in archives as well as in the rapport of wallpapers.(Auszug aus „Hide & Seek“ von Georgia Holz, 2020)

The work titled Harlekin & Colombine also presents a “hybrid-object”, even though it is a found one – a rococo porcelain figure. The clearly visible printing-raster exposes the reproduction of the reproduction of the figure. The artists scanned an auction catalogue, that resorts to display modes, initially these products where part of a serial production but through auration they where stylised to be unique items.

Hanakam and Schuller virtually make the aura visible by painting over in sweeping gestures with semi-transparent acrylic ink, which is simultaneously an act of showing and hiding.

One can’t avoid taking this as a reference to Walther Benjamins well-known Essay “The Work of Art in the Age of Mechanical Reproduction”. The colourised wall operates as a stage as well as a frame for the image.

The video-animation Tower of Jewels (2015, Re—Cut 2021) is based on scans of already scanned artificial objects. These rotating objects gain spatial depth and fuzziness by applying the scanning method. Hanakam & Schuller arrange them in concentric circles and rotate them in different scales. The sound is produced by the plastic objects themselves, as they are rubbing against a stone surface. The acoustic effect that results from this process is now increasingly used in social media as Autonomous Sensory Meridian Response (abbreviated ASMR). ASMR refers to the experience of a tingling sensation on the skin (so-called tingles) and is often triggered by acoustic, visual and tactile sensory stimuli (so-called triggers), but is experienced with varying strength or weakness on an individual basis.

General

Their latest exhibitions include: The Emblematic Cabinet, Galerie im Traklhaus, Salzburg (A), Städtische Galerie Cordonhaus, Cham (DE), 2020, solo, Oikos, MQ Artbox, Museumsquartier Wien (A), 2020, solo, Linterna Magica, Ebensperger Rhomberg x Berlinale Forum Expanded, Berlin (DE), solo, Anthropocene On Hold, PCAI Polyeco Contemporary Art Initiative, Piraeus (GR), 2020, Mind so Fast, Body so Slow, Berlin Weekly, Berlin (DE), 2020, House of Rituals, Vienna Art Week, Wien (A), 2020, Rencontres Internationales, Haus der Kulturen der Welt, Berlin (DE), 2020, Rencontres Internationales, Contemporary Moving Images, Louvre Auditorium, Paris (FR), 2020, this year their works will be on view at the Biennale for Freiburg in Freiburg, Breisgau (DE).

STEFANIE DE VOS

In her paintings and drawings Stefanie De Vos combines her passion for painting, architecture and landscape. Communicating colour surfaces and graphic elements combine with each other to form colourful expressive compositions in works on canvas, paper and acrylic glass. They can be objects and wall paintings. Her working method is intuitive, the sense of freedom is reflected in vibrant, rhythmic images. A group of elements in contrasting scales, materials and colour temperatures results in chain-like arrangements with irregular rhythms and accents. The lively paintings are like landscapes in which many visual walks with different focal points, multiple spatial connections, interruptions and varying points of orientation.

General

Her latest exhibitions include: SOArt Artist in Residence (AT), 2020, Romantic Activity, Casa Argentaurum, Gent (BE), 2020, Borrowed Spaces, Warp Sint-Niklaas (BE), Groupshow, 2020, AIR Artists in Residence, Krinzinger Projekte Wien (AT), 2019, Festival International des Jardins Chaumont-sûr-Loire (FR), 2019, AIR Petömihalyfa, Krinzinger Projekte (HU), AIR, 2018, AIR Cité Internationale des Arts Paris, Flanders, State of the Art (FR), AIR, 2018, Summer, Dance and Objects, PERFORMANCE with Yi-En Chen (Choreographie/Dance), WUK KEX Summerstudio, Wien (AT), 2018, On Space, Edel Extra Nürnberg (DE), 2018, WARP BELGIUM Portfolio Weekend, Eindhoven (NL), 2018.

LINUS RIEPLER

born 1984 in Vöcklabruck, lives and works in Vienna. He graduated at academy of fine arts in Vienna under Gunter Damisch and Manfred Pernice as well as at the Koninklijke Academie voor Schone Kunsten, Antwerpen. In 2017 he received the Klemens Brosch Award, 2014 the Heinrich Gleißner advancement Award and 2013 the Theodor Körner award.

Riepler’s works are rooted in personal experiences and these recur again and again in mentally relived narratives. For him it is not about telling his life story per se, but about telling stories through objects. The same things can evoke completely different memories in the viewer and function like relays to a remembered world of experience – like bridges in our memory that create an impulse for a shared memory and narrative.

Simple materials, found objects and parts of everyday objects meet hand-formed objects and moulded structures in Linus Riepler’s spatial sculptures. (Daniela Hahn)

In the current exhibition, specific places are cited. One of the places cited is the own flat. The spatial model Wohnung Gfrornergasse (kurz vor dem Auszug) (2020), is a detailed replica of Riepler’s flat shortly before a move during the first COVID 19 – related lockdown – as a testimony to a farewell and a snapshot. So this is a farewell and a snapshot. The work noch immer warten auf bessere Aussichten (2021) also has its origins in said move. A cited window recess in the flat serves as the starting point. Thus the radiator is also a cast of a radiator in the flat.

This work, however, is not an exact reconstruction of a place; although it hints at it, it is much more about the depiction of a mood. The sculpture remains sketchy and leaves it up to the viewer to think it through.

General

His latest exhibitions include: Nach dem Taifun, Kunstraum ada, Wien(AT), 2020, solo, Open Art Biennale, Örebro (SE), 2019, Thomas Bernhard-Abend, Österreichisches Kulturforum in Berlin (Installation) (DE), 2019, 10. Medunarodni festival vizualnih umjetnosti ARTERIJA, Museo Lapidarium, Novigrad (HRV), 2019, Preise und Talente 2019, Power Tower, OK and Energie AG, Linz (AT), 2019, 26 Relaxercise, 5 year anniversary of stay hungry project space, Berlin (DE), 2019, A small analog holodeck, Richmond Art Collective, Spokane, (USA), 2017, solo, Left Behind, Galerie Krinzinger (AT), solo, 2021 his works will be presented in solo-exhibitions at Galerie im Traklhaus in Salzburg and in the ORF regional studio Linz.

ANJA RONACHER

born 1979 in Salzburg, lives and works in Vienna. She studied photography at the Royal College of Arts in London as well as at the Estonian Academy of Arts in Tallin and studied scenography at the University of applied Arts in Vienna.

In the two exhibitions Paradise and The Guest House Anja Ronacher presents works from different work cycles.

On the one hand, there are pieces from her drawing oeuvre. In small formats she works with ink on paper. Starting from a drawing of the Ecce Puer, a sculpture by Medardo Rosso that was first moulded in wax and then cast in bronze many times, which marks the beginning of this series, she has developed a cycle of works of children’s faces. She quotes Antonin Artaud “The human face is an empty force, a field of death, it is still searching for itself”. In the drawing-room, Ronacher likewise displays a showcase of research images (the archaeological site of Tacht-e Suleiman as well as a monastery complex in West Province – Azerbaijan, Iran, 2018).

On the other hand, she shows photographic works from 2018 and 2019. In a complex analogue photographic technique that she has been developing further since 2010, archaeological object become symbols that look into the depths of the human psyche. In the title Pardise, Jewish Pardes, Christian Paradise, and Islamic Garden, she dissolves and rewrites the terms. The titles of the photographs each mark the place as well as the museological description of the item, here photographed in Yucatan, in archaeological museums in Mexico City as well as in Athens.

General

Her last exhibitions include: Leto Gallery, Warsaw (cancelled due to Covid19 restricitons), The wave and the sea, Gottrekorder, Graz, 2020, Opfer, Leerstand Gallery, Wien, 2020, Die Sammlung, Lentos, Linz, 2019, Kardinal König Kunstpreis, Kunstraum Sankt Virgil, Salzburg, 2019, Answer to Job, Vucedol Museum, Vukovar / Oris, Zagreb, Kroatien, 2018, und Rigo Gallery Novigrad, 2017, solo, BC21 Kunstpreis, 21Haus, Vienna, 2017, Anja Ronacher, Kunstverein, Salzburg, 2016, solo