VIENNAFAIR The New Contemporary is very grateful for the support for the young Austrian artists from the Austrian Federal Ministry of Education, Art and Culture (BM:UKK) (www.bmukk.gv.at) in facilitating ZONE1, a special project at the fair where Austrian galleries present solo exhibitions. This is the first introduction to the artists and a peek at the works from the upcoming solo exhibitions at the following booths: Mario Mauroner Contemporary Art at Stand C13, Ostlicht. Galerie für Fotografie at B12, Galerie Lisi Hämmerle at C15, Raum mit Licht at C19, Galerie Ernst Hilger at B16, and Galerie Zimmermann Kratochwill at B18.
Tomas born in Meran, Italy in 1975, lives and works in Vienna. Education: Sculpture, Fine Arts, Graphic Design and New Media, University of Applied Arts and Academy of Fine Arts Vienna.
Exhibitions (Selection): 2013 Decelerator, Europäisches Künstlerhaus Oberbayern – Schafhof, Freising/Munich; SilvrettAtelier, Palais Liechtenstein, Feldkirch; 2012 Nacht, Galerie OstLicht, Vienna; The Meeting, ISCP, New York; 2011 Mythos Berg. Das Alpine in der aktuellen Kunst, RLB Kunstbrücke, Innsbruck; 2010 Electricnight, Zeithaus Autostadt VW Wolfsburg (solo); Absurdity and Form in Austrian Video Art, Austrian Cultural Forum, New York / Museum der Moderne Salzburg / Zacheta National Gallery, Warsaw; 2009 Nocturne, Museion, Bozen (solo).
STABILIZE MY HORIZON / NAMA-CON / NOCTURNE / RAPID SLEEP / EXTENSION TURN / RITORNELL / ELECTRICNIGHT / DINO / HEAVY METAL / SERENDIPID / V>C / CLUSTER / SPINNING SYSTEMS / SILVERSKY / BLACK BRANE / THE DECELERATOR / EXPENDIC / BLUE SKIN / STATE ALPHA, ON THE ARCHITECTURE OF SLEEP / LIQUID MOUNTAIN.
On Tomas Eller’s work
Space and time and their construction as well as the location of the individual amid the movement of the mass form a thematic constant in Tomas Eller artistic work. The artist draws from scientific and physical findings and considerations and explores the possibilities to convert these into a visual language.
“Eller’s diverse body of work shows his continuous examination of questions around the notion of ‘extended sculpture’. His videos, sculptures, photographs, prints, and immobile as well as kinetic objects have been shaped by his experience of space and extensive knowledge of the third dimension.” (Alfred Weidinger)
“As an artist, Eller interprets perception as ‘conscious doing’ within the parameters of an actively staged situation – in contrast to the usual representations. Only so are we able to reflect on the structures of reality and our role as individuals within society.” (Sabine Gamper, in the catalogue accompanying the exhibition ‘Black Brane’ at Kunstverein Medienturm, Graz 2007/2008)
Mezvinsky lives and works between Vienna and New York. His works are cut out pieces from unusual ecosystems, views of the countryside illumined with the fantastic. These ecosystems seem to be miniature theaters where the artist’s visual memories are cluttered with the old masters compositions. Mezvinsky infuses his work with an intriguingly diverse set of devices. Beginning from a very classical American visual vocabulary, scenes of suburban America, postcard photography, and romantic views of the beach, the lines of his images become blurred into images of twisted commedia dell’arte characters and historical painting references.
Plating Death presents two series of work where the artist explores the coating of the memory as a reality. These two series interrelate in how memory interference plays a huge role in society. Both make society overlook the reality of death and fail to notice that what is on their plate once was living. The installation is composed of two doubles sided sculptural drawings, ceramic plates and a nutritional facts sheet which breaks down the ingredients.
On one hand society has lost touch with the intimacy of its surroundings since farms and slaughtering houses where placed outside the cities. So, when a Chef plates a dish the viewer takes in the beauty and forgets the origins of his nourishment. The first world people forgot that what sits on their plates every evening is in the end just a constant reminder of death. In “ Gefilte Fishing” the ceramic plates slowly come to life depicting a natural scene idealizing the origins of life. The idea is that pure death is displayed and coated over.
On the other hand the artist’s visual memories are combined into a series of sculptural drawings called “Dietro liceo, davanti museo” (behind teen, in-front museum). These double sided pieces address how any young country eg. USA (on the back) comes from the death of the past history (on the front). The coated memories in the front are allegories of trips through art history.
The installation is a journey that wants to make the viewer re-appropriate the concept of life and death and consequently put them on a equal level of perception.
Albért Bernàrd. Galerie Lisi Hämmerle
Albért Bernàrd is the artist persona created for collaborations between Albert Allgaier and Bernhard Garnicnig (both born 1983 in Bregenz, Austria). For the past 30 years, Albért Bernàrd has been working on expanding the definition of the sculptural term further into infinite time and space. Studies at the University for Applied Arts Vienna (MFA), University of Vienna (MA), Academy for Fine Arts Vienna, Piet Zwart Institute Rotterdam, Yokohama City University, Newcastle University, and Polytechnic University Hong Kong.
Abstract abstract art
Art and life alike go in circles, and there is always this big fear of repetition and redudance. a spoonful weights a ton when one looks back where it all came from, and all the naiveté and playfulness gets lost. albért bernàrd wants to break out of this vicious circle with “abstract abstract art”, because as an almost unknown philosopher once said: “we have to become more abstract”. “abstract abstract art” is a series of collages that combines art historical seriousness with visual playfulness, creating a discourse on creativity, challenge the meaning of heritage, and question the boundaries of art in general. pages of artists monographs are not simply appropriated, but converted: what was a once a dead end becomes a fresh start. the method of applying paint directly between the pages and glass gives the material a way to work on its own, and therefor become as pure as possible, free from the previous conceptual constraints, intellectual fears, personal reluctance. because to make abstract art more abstract, oneself simply has to become more abstract as well.
Jochen was born in 1977 in Amstetten, Lower Austria. Studied sculpture at the Art University Linz with Prof. Erwin Reiter. Diploma in 2001. Lives and works in Vienna. Projects and exhibitions (selection): „Geheime Dimensionen“, Salzamt, Linz. „An vielmehr nahe muß wirklich“, Galerie Mario Mauroner, Wien. „Nicht nur ein Bild sondern eine ganze Welt“, Kunstraum NÖ, Wien. „Kunst und Kapital“, Künstlerhaus, Wien. „Living on the edge of a silver future – Part III“, Galerie 5020, Salzburg. „Living on the edge of a silver future – Part I“, Galerie 5020, Salzburg. „Doppelgänger Literatur und bildende Kunst“, Künstlerforum Bonn (D). „L.Wittgenstein TLP 2.01231“, Künstlerhaus Saarbrücken (D). „Die nächste Generation III – Ein Selbsportrait“, Galerie im Traklhaus, Salzburg. „Soul Miners“, K/haus-Metro, Künstlerhaus Wien. „Look at me“, Kunstverein Stedefreund, Berlin (D). „Translation is a mode / Übersetzung ist eine Form, Kunstraum NÖ, Wien. „Visual Poetry / Concrete Texts“, Vasarely-Museum, Budapest (H). „Memory Circus“, Salzburger Kunstverein, Salzburg.
The directionless ordering principle in Höller’s dynamics of multitude passes this time over a phenomenon of broadband attention—the magazine. Here, observation is funneled irrevocably into the face-recognition mode. This selection of organized unity–the topographic experience of faciality–supplies Jochen Höller with a new facet for his ordered investigations. When human beings are loved, faciality represents one of the most gratifying moments in detecting essential links-to-world. Being at the midpoint of multiple attention embodies an instantaneous promise, the promise Höller inverts in its superficiality. He creates an absent stage for the observer. Hyperpolished fragmentation, so meticulously arranged that the self can obtain a portable public—this does us good. Can it be the point? Text: Georg Russegger (translated by Benjamin McQuade)
Sofia Goscinski (1979) was born, lives, and works in Vienna (A). 2000–2005 Academy of Fine Arts, Vienna (A). 2004 Villa Arson, L’École Nationale Supérieure d’Art, Nice (F). 2009 The Mountain School Of Arts, Los Angeles (USA).
Exhibitions, projects (selection): 2012 Rainbow Country, Galerie Zimmermann Kratochwill, Graz (A) (solo). Der Nackte Mann, Lentos Linz, (A). 2011head in the closet, Kunstraum Bernsteiner, Vienna (A) (solo). 2010 Play Human Needs, public art Vienna, supported by Kunst im oeffentlichen Raum Wien, Vienna (A) (solo). Disorders, , curated by Angela Stief, Photo/Videowall, Kunsthalle Wien, Vienna (A) (solo). Rejection, curated by Alois Bernsteiner, V.esch, Vienna (A). Les Competences invisibles, curated by Florence Ostende, Maison Pop, Montreuil (F). 2009 Free Dirt, habres+partner gallery, Vienna (A) (solo). 2008 Play Human Needs, curated by Nadja Baldini, Video Tank, Zurich (CH) (solo) VIENNABIENNALE 08: Solitude, curated by Mario Grubisic, Vienna (A). 2007 Oil, Visual Drugs Gallery, Zurich (CH) (solo) Insane Busy, Artothek, , Zurich (CH) (solo) Solitude, habres+partner Gallery, Vienna (A) (solo). 9th International Womens Art Festival: Insight, curated by Issa Touma, Le Pont Gallery, Aleppo (SYR). The Art Of Failure, curated by Sabine Schaschl, Claudia Spinelli, Kunsthaus Baselland, Basel (CH). Hot Dog, ,curated by Constantin Bohorow, Media Forum, Moscow (RU). 2006 Liberty, diemonopol, Innsbruck (A) (solo). Das öffnen und schliessen des Mundes, Julius Hummel Gallery, Vienna (A). Company, curated by Eva Schlegel, 422 Gallery, Gmunden (A). Eisler Award 2006, Nominations BA-CA Kunstforum, Vienna, (A). heute kein evidenzproblem, curated by Eva Schlegel, WestLicht Schauplatz für Fotografie, Vienna (A).
The concept of testing the limits of her viewer’s awareness as well as her own and of the art she makes is a common thread in Goscinski’s oeuvre. Her work, which embraces and frequently overlaps a wide range of media including sculpture, photography, performance, video and readymade, questions basic values that form the cornerstones of modern society like happiness, freedom and sanity, and presents them in a way that throws them into the fray with their evil counterpart (sadness, captivity, madness), moving along the fine line that demarcates them.
Admittedly gloomy at times, Sofia’s work is nevertheless capable of sudden twists of irony – an ingredient that seems to work at best when she leans towards models that establish a dialogue with aspects commonly associated with the mundane and the ordinary.
Language plays a pivotal role for Goscinski. Either in the shape of words spoken during video projections or performances, or in written form in installations and photographs, one-liners are recurrent, and integrate the hermetic quality of her work. Although the majority of these are penned by the artist, they sometime get located and extrapolated from other contexts, mostly at street level, a factor that guarantees their success due to their proven communal function.
Rini Tandon, born in India, has lived and worked in Vienna since 1978. She studied Fine Arts at the Universities of Delhi and Baroda and at the University of Applied Arts in Vienna. Since 1987 she has been teaching at the University of Applied Arts Vienna. Her works have been shown in noteworthy institutions such as the Kunsthalle Oslo (1986); Aperto, Venice Biennial (1988); Anina Nosei Gallery, New York (1989); Austrian Sculpture, Generali Foundation/ Secession, Vienna (1990); Visionary Positions, Fundacao Calousto Gulbenkian, Lisbon (1998); Positions of Women Artists from 1945 till Today, Kunsthalle Krems (2003); Lentos, Kunstmuseum, Linz (2006); The Content of Form, Generali Foundation (2013) or in single shows such as at Grita Insam Gallery, Vienna (1986); Mindy Oh Gallery, Chicago (1993); Chemould Gallery, Bombay (1993); Landesmuseum Joanneum, Graz (2000); Nature Morte Gallery, Berlin (2009) or Raum Mit Licht Gallery, Vienna (2010); Her works are represented in important international art institutions and collections.
On Rini Tandon’s work
“…Tandon’s works are most compelling when considered as an exploration of the artist’s interest in a specialized subject matter, as well as an attempt to convey information and share her fascination with viewers. This is ultimately an aesthetic strength… leading others to ponder her curiosity and to empathize with her investigation of such distinctive intellectual issues”. Ana Finel Honigman, ARTFORUM, 2009. In the solo show at the Viennafair 2013, Rini Tandon presents recent works together with selected works from the 1990s.
Questioning the tangibility of physical reality, Tandon has critically implemented methods to ‘absent the given’ in different forms. “The artist creates solid sculptures that strive for a state of fluidity, while in her photographs there is sculptural thrust, a movement towards three- dimensionality. What is perhaps most crucial here is her preoccupation with the topological aspects of perception and the imperceptibility of actual space” (C.N., ART INDIA, 2009).
“Desire for information, dissolving fragmentations. How should a demanding exhibition be designed, which – on the basis of contextual art – includes scientific methods as well as contemporary forms of art? Rini Tandon employs research, analysis and documentation to evaluate specific spatial concepts”. (Leon Gumil Hainzl, Artmagazine, 2010)
Stay tuned to the blog and you will find out more about other artists from the presentation at the ZONE1.