Esther Stocker, Untitled, 2009 (Detail)   - COURTESY ESTHER STOCKER AND KROBATH WIEN, FOTO: ANDY STAGG
PAINTING IN SPACE

ABSTRACT - SPATIAL

13/03 - 19/06/2016

Ernst Caramelle
Heinrich Dunst
Herbert Hinteregger
Luisa Kasalicky
Michael Kienzer
Ingo Nussbaumer
Helga Philipp
Gerwald Rockenschaub
Peter Sandbichler
Esther Stocker
Sofie Thorsen
Heimo Zobernig and a video by UTV

The exhibition is designed as an agglomerate of positions by artists who practice painting in space, meeting each other on the level of the abstract-geometric language of forms. Their common denominator can be found in both their discursive approach, which extends the concept of painting to sculpture and installation, and the constructivist vocabulary that mirrors spatial parameters. Painting and thus the image serve as a reference also reflected in the artists’ use of other media for the works, some of which were created especially for the exhibition.

Heimo Zobernig’s “pictures shifted into three dimensions” (Isabelle Graw) open up the exhibition’s extensive painterly space. The occupation with issues of modernist formal vocabulary and its reflection of spatial devices, as demonstrated in Sofie Thorsen’s work, is presented alongside Michael Kienzer’s sculptural layers of material and Luisa Kasalicky’s space-consuming assemblages evoking classical questions of pictorial composition. Gerwald Rockenschaub’s expanded approach to painting informs sculptural objects that correspond to the formal vocabulary of Constructivist painting, while Ernst Caramelle’s mural paintings follow the structural rules of architecture. Heinrich Dunst’s “painting under the banner of spatiality” (Peter Weibel) employs an open arrangement of artistic vocabulary, incorporating the empty spaces on the wall as a creative element on equal terms with the rest of the work. Helga Philipp replaces coherent form with an expansive work spreading out flexibly across the wall. In his immersive installations with empty Bic ballpoint pens, Herbert Hinteregger seems to label the exhibition room as a negative space of painting, while Peter Sandbichler’s modular folds oscillate between sculptural objects and wall paintings. With her walk-in grid structures, Esther Stocker fully activates real space using minimal artistic means, and Ingo Nussbaumer feeds his painterly pictorial inventions with fascinating, sophisticated light analyses.

The joint presentation of these heterogeneous approaches, which are partly characterized by a strong formal proximity, enables a reflection on the exciting connection between painting and its related three-dimensional disciplines.

 

Concept: Verena Gamper, Hans-Peter Wipplinger

Curator: Verena Gamper