VIENNAFAIR The New Contemporary is very grateful for the support for 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 second part of the introduction to the artists and a peek at the works from the upcoming solo exhibitions at the following booths: Projektraum Viktor Bucher at B14, Galerie Steinek at C11, Galerie Altnöder at B20 and Galerie Heike Curtze at C17.
Peter Fritzenwallner, born in 1983 in Mittersill, lives and works in Vienna. From 2003 to 2008 he studied painting and media art at the University of Applied Arts in Vienna (Johanna Kandl’s class), architecture at Vienna University of Technology from 2002-2004, and cultural and social anthropology at the University of Vienna from 2002-2005. From 2009-2010 Peter Fritzenwallner worked as Franz West’s assistant. Peter received the MAK Schindler Scholarship for Los Angeles in 2011.
Fritzenwallner creates in his performative-sculptural works open areas wherein he is dealing and acting with various Performance-tools. Those formally and color-coded objects are helping him with creating stories and small situations, in order to fuck up current discourses. The good, the bad and the ugly conceptionalism. Creepy Conceptionalsim. Even the audience is pleased to implement their attitude to create spacial-fictional agglomerations which can be delightening, enlightening and confusing. Another mayor branch in Fritzenwallners work is dealing with the visual culture of symbolic representations in Everyday-live, like corporate designs and logos of Companies and Puplic intstitutions.
Sevda Chkoutova, a Bulgarian artist who left Sofia in 1998 to study at Vienna’s Academy of Fine Arts and stayed on in the city after completing her studies.
Chkoutova’s recent work focuses on the woman as a mother – prompted by the artist’s own current reality. One group of works shows the protagonist holding a child, along with assorted house- hold utensils or cooking implements. In all of these images, the woman’s self-esteem appears to be fragile, damaged and externally contingent – most drastically in the case where her head disappears inside a bucket, but also, curiously, when she strikes a triumphant pose with the aid of a sweeping brush. Other drawings zoom in on dolls and toy animals – the other residents of the nursery who are often employed as animated villains in fairy tales and horror movies. Chkoutova sets them against an empty, ‘spaceless’ background – maltreated creatures that are always ready to get up to mischief when the opportunity arises.
It seems appropriate to view Chkoutova’s work within the con- text of feminist art since the 1960s that has deliberately eschewed traditional artistic forms, preferring to use emerging new media as weil as one’s own body as a means of expression. Chkoutova has chosen drawing, a very traditional artistic technique she employs with great finesse and whose function she radically expands: draw- ing as a form of body art. Her awareness of the pitfalls of representa- tion, the deconstruction of the image, the immediate, almost ruthless co-option of the viewer and the use of her own body make drawing a universal mode of expression for Sevda Chkoutova. ( Stella Rolling)
Nestor Kovachev is a Bulgarian artist (1981), who lives and works in Vienna. In 2005 he gradueted from Academy of Fine Arts, Vienna (Prof. Franz Graf), in 2006 did education Internship at the Generali Foundation ( Vienna). He has exhibited at VIENNAFAIR 2012, ART BRUSSEL, the 1st Danube Biennale and other various venues such as Gallery Heike Curtze Berlin, LENTOS Kunstmuseum in Linz, SAMCA Sofia, XPEDIT Kiosk in Vienna, Wiener Art Foundation.
Some of the presented works are the result of well chosen pictures, motives from magazines, newspaper articles, books and illustrated encyclopedias. Photos, posters and advertisements surround us on every side in the urban environment. They are part of the reality, but also a good source of inspiration and ideas for the collages, which I do for several years. Very often i just memorize different images in my mind and use them for future creations.
Collages and drawings are invariably connected in my work. As we know, the painting is one of the oldest and spontaneous media, systematically used by humans since ancient times. However, it forms a different pictorial space and creates a new whole, when it is incorporated together with another fragment, for example a photo, newspaper clippings or colored paper. In this way I continue to search for more possibilities to break the classical boundaries of the drawing.
In this series of collages I use appropriate many of my own photographs to achieve a kind of decorativeness on the paper. Decorativeness, which is creating tension and stays in contradiction with the canons of traditional painting.
The image motives, in close connection with the titles, consider the outside world and current events. The subject-‐matter is an always humurous, fresh view on society. In my works I try to investigate and handle very human and individual concepts of distance, banality, isolation, ignorance or irrelevance.
Gudrun Kampl, 1964 born in Klagenfurt, Austria; 1983/90 Academy of Applied Arts, Vienna, painting and animation film; 1992 grant to New York; 1995 grant to Paris; 1996 grant to Brazil; 1996 grant to India; 1998 Austrian State grant for fine arts; 1999/2000 Austrian State studio. Awards: 1988 Viennale, Vienna; 1992 International Award for Painting, Erfurt/D; 1994 Bauholding Art Award, Klagenfurt.
Gudrun is a conceptual artist, who works with the different media and diverse communication platforms such as the experimental film, exhibitions, theater and art in public spaces. Processing her versatile fields of research done by a specific point of view and personal confrontation. Kampl’s experiments and approaches run through a thirty year artistic creation process.