Watch our recap of the special curated section Explorations, introduced by Harald Krejci.
The section Exploration gathers various galleries from Europe presenting artistic positions of the 60s and 70s in a concentrated presentation of works. The section shows very different artistic attitudes, all of which, in their specific way, indirectly link or refer to the intellectual heritage of post-war surrealism.
In the 1960s, many artists reinterpreted abstraction as the encoding and decoding of social problems on a poetic level. The intellectual heritage of surrealism played an essential role in this. It offered the opportunity to regain the critical potential of art in times of its political appropriation on both sides of the Iron Curtain. From then on, artists were concerned with the problematization of abstraction as a form of overlapping thinking of different levels of consciousness. Central to this was the concept of poetry.
Mesmaeker’s strictly conceptual method is a poetic approach and a shift of space and biography, of dream and reality, within her work. The photographic works of Géza Perneczky and Michal Kern discursively point out the ephemeral dimension of art, while Josef Bauer’s fragmentation of language as a poetic dimension manages to expand the language space into the third dimension. At second glance, Robert Klemmer’s superficial pop-art colorfulness and self-portrayal turn out to be an introspective, existential dimension of the ego. With his works of the 60s and 70s, the Russian artist Alexander Pankin draws on the tradition of the abstraction of avant-garde and reflects on the question of the poetic aspect of figurative painting. Yuri Zlotnikov’s painting follows the analytical approach to abstraction in the tradition of avant-garde, yet still remaining committed to pictorial and poetic qualities.
Tess Jaray and Horia Damian deal with reflections on architectural space and emphasize the poetic over the rational. Milan Adamčiak, on the other hand, uses music to open up the poetic space. From a certain point onwards, Alberto Biasi operates only under the programmatic group name Gruppo N and works on the poetic potential of rational-geometric structures. In his kind of art-brut quoting painting, Alfred Klinkan’s art places biographical references and Western myths in new narrative contexts. Vakhtang Kokiashvili’s work relates to the folklore, myths, and mysticism of his homeland.
Josef Bauer | KROBATH | F08
Alberto Biasi, Gruppo N | PANARTE | E06 / F07
Horia Damian | Galeria Plan B | E08
Tess Jaray | Karsten Schubert & EXILE | G09
Robert Klemmer | Konzett | G10
Alfred Klinkan | Galerie bei der Albertina • Zetter | F06 / G07
Vakhtang Kokiashvili | Window Project | F10 / G11
Jacqueline Mesmaeker | Nadja Vilenne | F09
Geza Perneczky, Milan Adamčiak and Michal Kern | SODA Gallery | G08
Yuri Zlotnikov and Alexander Pankin | pop/off/art gallery | E10 / F11
Mag. Harald Krejci
Born in Linz / Donau, Krejci studied art history in Augsburg and Munich. In 2000, he started working at the Kiesler Foundation in Vienna, where he was in charge of the scientific research and evaluation of Friedrich Kiesler’s estate. He curated exhibitions at the MMK Museum of Modern Art Frankfurt am Main, the Drawing Center New York, and the Kiesler Foundation Vienna. In 2009, he joined the team of curators at the Belvedere, where he curated numerous exhibitions. In 2017, Krejci was appointed the head curator of the Belvedere. He curated retrospectives on Franz West, Günter Brus, and Rachel Whiteread as well as the first presentation of Vik Muniz in Austria.
Save the Date
24–27 September 2020
Marx Halle Vienna