Art Basel Advisory Selection 2017

This year’s Art Basel fair was a great conglomeration of inventive emerging and established galleries which showed high quality works. An Austrian artist named Christoph Weber showed his unique work ‘Beton (lehnend), 2017/ ‘Concrete (leaning), 2017 at the booth of the Barcelona based gallery PROJECTESD

‘Beton (lehnend)’, 2017/ ‘Concrete (leaning), 2017

A funny coincedence as I always discover Austrian artists away from home. Vienna based artist Christoph Weber will be invited to be the next artist in the framework of YACA (Young Austrian Contemporary Art) and counterparts worldwide in the bell tower at the Schlossberg landmark in my hometown Graz (AUT) under the subtitle programme ‘Visiting Schlossberg Mountain’ as always under the guidline of Duchamps ‘Keep it simple and work with what we find’ a site-specific installation as well with newly commissioned work is planned to be realised by Christopher Weber. The artist is represented in addition by the Viennese Gallery Nächst Sankt Stephan.

The Unlimited section was by far the best selection of contemporary installation pieces on view by far. The entrance piece showed a work by Jenny Holzer, a neon light running a text on a  industrial aluminium stand  and as well worked its way through the air like a pendulum across the space therewith becoming a central work of the entrance area of the Unlimited Section of Art Basel Fair 2017.

STATEMENT – redacted, 2015

STATEMENT – redacted, 2015

 

Holzer who is best known for her critiqual often relating to female concerns without drifting into feminism showed a new side and took over the full attention of the art crowd gathering in this major section of the art fair.

For further review and details  of the fair check back in the next few weeks which will gradually be added to this critique as well as a review on Wolfgang Tillmans work at Fondation Beyerle in Basel.

All my best wishes and Congratulations to the Art Basel Team!

Daniela Haberz, M.A.

 

Löwenbräu Areal in Zürich, Schweiz

IMG_7986

Das Löwenbräu Areal in Zürich (CHR)  versammelt Galerien zeitgenössischer Kunst sowie Museen, wie die Kunsthalle Zürich und das Migros Museum, das mit seinem Projekt 1 Prozent für Kunst  einen Anteil der Erträge der gleichnamigen Supermarktkette in Kulturprojekte investiert. Ein Privatwirtschaftliches Vorreiterprojekt ähnlich unseres Österreichischen, gesetzlich geregelten Förderprogrammes für Kunst & Kultur ‘Kunst am Bau’, welches bei öffentlichen Bauten einen Prozentsatz der Bausumme in Kunst oder Kulturprojekte investiert.

Im Löwenbräu bin ich auf eine junge Galerie zeitgenössischer Kunst gestoßen, die ihresgleichen in Österreich sucht, der junge in Berlin ansässiger Künstler Michael ? stellt seine Werke wie beispielsweise eine weiße Vespa die anstelle des Motors einen alten im Krieg verwendeten Ofen als Antrieb verwendet, in dem noch Reste von verkohltem Holz zu sehen sind.

Eine weitere Arbeit des Künstlers Michael ? zeigt einen gewebten Fleckerlteppich, den wir alle von Ikea kennen und bestimmt einmal bessessen haben, wahrscheinlich Mitte der 80er Jahre, als er modern war. Der Künstler verarbeitet dabei jedoch ausgesonderte Polizeiuniformen, die mit ihren Emblemen Knöpfen und Abzeichen eine Kritik an unserer Gesellschaft üben, die Randgruppen ausgrenzt und sie aus dem öffentlichen Leben verdrängt um das heile Weltbild mit seiner Sauberkeit und pitoresquen Schönheit zu gewährleisten.

IMG_7928

Der Blick durch die rosa Brille, wie gerade auch bei Rene Berghold’s Arbeit im Glockenturm in seiner Arbeit ‘Sind wir nicht alle ein bisschen rosa’, 2016 zu sehen war.

IMG_7713

Sind wir nicht alle ein bisschen rosa, 2017 von/ by Rene Berghold

Die Uniformteile mussten akribisch dokumentiert und verarbeitet werden, um Missbrauch auszuschließen. Die Besucher haben nunmehr die Möglichkeit auf diese, mit Ordnung und oftmals rechtem Gedankengut behafteten Versatzstücken, draufzutreten und ein wenig zu rebellieren. Die Galerieangestellte hat mir erzählt, dass auch die Staatspolizei zu Besuch war, sie jedoch nicht ganz so erfreut waren, da sie ja auch ein wenig aufs Korn genommen werden, doch ich denke, da gibt es schwerwiegendere Vergehen. Auf alle Fälle ist das Löwenbräuareal einen Besuch Wert und fast alle Ausstellungen sind bei freiem Eintritt zu besuchen.

Wer  gerne nähere Informationen zu den Werken haben möchte, kann sich gerne unter den unten stehenden Kontaktdaten an mich wenden.

Copyright Bildmaterial: Daniela Haberz für AØH Art Consultancy Haberz E.u.

 

Daniela Haberz, M.A.

AØH Art Consultancy Haberz E.u.

Mobil: +43 664 182 8678

E-mail: dhaberz@artconsultancyhaberz.org

Web: http://www.artconsultancyhaberz.org

 

 

Ausstellung von Rene Berghold im Rahmen von ‘Zu Gast am Schlossberg’

IMG_7805

Wir freuen uns bekannt geben zu dürfen, dass die Ausstellung von Rene Berghold im Rahmen der Ausstellungsreihe ‘YACA (Young Austrian Contemporary Art) Junge Österreichische Kunst – ‘Zu Gast am Schlossberg’ erfolgreich mit unserer Finissage am 03. Juni 2017 ihren Abschluss fand. Zahlreiche Besucherinnen und Besucher haben uns äußerst positiven Rückmeldungen gegeben und insgesamt konnten wir in 10 Ausstellungstagen, auch auf Grund des Schlossbergfestes am Muttertag und durch zahlreiche Schulklassen und Führungen durch das Tourismusamt insgesamt 1.384 Personen aus Österreich, China, Polen, Korea, Frankreich, Deutschland, Schweden Großbritanien und den Niederlanden vermelden.

Ein Ausstellungskatalog ist derzeit in Planung und wird diesmal in Deutscher und Englischer Sprache erscheinen, um junge Steirische Kunst auch über die Grenzen hinweg bekannt zu machen, somit internationalen Sammler_innen und Unterstützer_innen über unsere Projekte zu informieren und auf uns aufmerksam zu machen.

Ich möchte mich bei unseren Förderern, Stadt Graz Immobilien, dem Bürgermeisteramt der Stadt Graz sowie bei Reni Hofmüller vom ESC Labor und Reinhard Plösch für ihren technischen Support und last but not least bei Rene Berghold, für die gute Zusammenarbeit, bedanken.

Im Jahr 2018 wird die Reihe ‘YACA – Junge Österreichische Kunst’ – ‘Zu Gast am Schlossberg’ im Glockenturm mit unserem Kooperationspartner Stadt Graz Immobilien in die vierte Runde gehen und ich freue mich bereits jetzt auf Zusendung von Künstlerunterlagen an: dhaberz@artconsultancyhaberz.org

Für Rückfragen stehe ich jederzeit gerne zur Verfügung.

Mit besten Grüßen

Daniela Haberz, M.A.
Kuratorin

_____________

Exhibition by Rene Berghold in the framework of ‘Visiting Schlossberg Mountain’

We are happy to announce that the exhibition by Austrian artist Rene Berghold in the framework of the exhibition series YACA (Young Austrian Contemporary Art) – Visiting Schlossberg Mountain has come to it’s close with the Finissage on 3rd of June 2017. We had a lot of positive feedback by our visitors and all in all we had 1.384 visitors within 10 exhibition days, resulting as well from the Schlossberg Party on mother’s day and numerous guided tours for school kids and tourists by the Tourist Office. Visitors came from all over Austria, China, Korea,  Polen, Korea, France, Germany, Great Britain, Sweden und the Netherlands.

An exhibition catalogue is currently in the planning and this time we will publish in German and English language to reach a broader audience most importantly curators and collectors and supporters beyond the borders of Austria.

We would like to thank our co-operation partner City of Graz Department of Property and the Mayor of the City of Graz as well as Reni Hofmüller from ESC Labor and Reinhard Plösch for their technical support. Last but not least I would like to thank Rene Berghold for our good co-operation in the realisation of his exhibition.

In 2018 the exhibition series YACA (Young Austrian Contemporary Art) – ‘Visiting Schlossberg Mountain’ goes into it’s fourth round in co-operation with the City of Graz Department of Property and I look forward to receiving your artist proposals under: dhaberz@artconsultancyhaberz.org

For further enquiries please do not hesitate to contact me.

All my best,

Daniela Haberz, M.A.
Curator

_____________

Kontakt:

Daniela Haberz, M.A.
AØH Art Consultancy Haberz E.u.
Schörgelgasse 32, 8010 Graz

Mobil: +43 (0) 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org

 

‘Ding Dong Weltfrieden’ von Rene Berghold im Rahmen von ‘Zu Gast am Schlossberg’ Mai – Juni 2017

Pausen, Beitrag zu großen Kunstausstellungen bzw. -messen, 2017
Pauspapier, 6-teilige Serie je 21 x 30 cm

 

 

 

 

 

 

Am Freitag, 05. Mai 2017 um 16:00 Uhr eröffnet die Ausstellung ‘‘Ding Dong Weltfrieden’ des  jungen Steirischen Künstlers Rene Berghold im Rahmen von  ‘Zu Gast am Schlossberg’ im Glockenturm am Grazer Schlossberg. Der Grazer Glockenturm am Schlossberg wird in eine Klanginstallation verwandelt, die den Klang der Glocke, im Volksmund ‘Liesl’ genannt, aufgreift und mit Veränderungen der Höhen und Tiefen des Glockenklangs zur Melodie der Europäischen Hymne, ‘Ode an die Freude’ (Freude Schöner Götterfunken) von Ludwig van Beethoven, im gesamten Turm als Klangwolke hörbar macht.

Soundinstallation ‘Ding Dong Weltfrieden’ Dokumentationsvideo: ‘Ding Dong Weltfrieden’, 2017

Eine weitere neu entstehende Installation wird das in den Turm einfallende Tageslicht in den Innenraum verstärkt fortsetzen und erlaubt Besucher_innen sich im Spiegel betitelt mit ‘Freigeist/ Geistfrei‘ selbst zu fotografieren, eine Persiflage unserer selbst, die uns herausfordert Stellung zu beziehen, uns selbst zu hinterfragen. Ist der Freigeist den die Europäische Hymne ausdrückt noch Realität und stehen wir mit allen Konsequenzen dazu oder suchen wir uns die Leckerbissen heraus und ‘leave the rest’, wie man im Britischen so schön sagt, berauben dadurch die ‘Freiheit’ ihres inhaltlichen Gedankenguts.


Wichtige Ansatzpunkte kommen bei Berghold aus den Titeln seiner Werke, welche den Visuellen Elementen eine weitere Bedeutungsebene hinzufügt. Ausgewählte Kurzfilme des Künstlers Berghold werden auf der zweiten Etage des Glockenturms einen Einblick in sein meist auch humoristisches Werk geben, bei dem beispielsweise eine Arbeit den Werdegang einer künstlerischen Karriere darstellt. Zu sehen ist der Künstler, der ein Loch in einen Holzsessel schlägt und sich anschließend auf diese Lücke setzt. Betitelt ist das Werk mit ‘Der Künstler schlägt sich durch’/ ‘Der Künstler setzt sich durch‘, 2015. Mit Witz trifft er den Ernst der Lage, wie den Nagel auf den Kopf und lässt uns Schmunzelnd zurück.

Bestehende grafische Zeichnungen und fotografische Arbeiten werden in den Nischen und Ecken des Glockenturms, durch ein kuratorisches Konzept so platziert, dass der Besucher sich auf einer Entdeckungsreise durch die drei Ebenen des Glockenturms befindet, auf den Spuren des künstlerischen Werkes Berghold’s, der wie in der Klanginstallation zu sehen aus dem musikalischen Bereich kommt und seine künstlerischen Werke zuletzt in Wien im Ausstellungsraum ‘Brick 5’ gemeinsam mit zwei weiteren jungen Steirern präsentiert hat.

Im Rahmen der Ausstellungseröffnung am Freitag, 05. Mai um 15:00 Uhr gibt es eine Führung durch mich in meiner Rolle als Kuratorin und den Künstler Rene Berghold, welche auch für Pressefragen genutzt werden kann. Die Ansprache findet um 16:00 Uhr mit einem Vertreter des Bürgermeisters statt.

Die Ausstellung ist ein Projekt der AØH Art Consultancy Haberz unter der Leitung von Daniela Haberz, M.A. gefördert durch die Stadt Graz und das Bürgermeisteramt der Stadt Graz.

Wir freuen uns auf ihren Besuch und Berichterstattung, nachstehend alle Daten im Überblick.

Download Pressetext Deutsch: Pressetext Berghold

Rechte Kunstwerke: Rene Berghold

Bildrechte Fotodokumentation: AØH Art Consultancy Haberz E.u.

 

Daniela Haberz, M.A.
Kuratorin, AØH Art Consultancy Haberz E.u.


Eröffnung: Fr., 05. Mai 2017 16:00 – 19:00 Uhr
Presserundgang: 05. Mai 2017 15:00 Uhr
Ausstellungsdauer: 06.05 – 03. Juni 2017
Finissage: Sa., 03. Juni 2017 11:00 – 14:00 Uhr

Öffnungszeiten:
Freitag 14:00 – 18:00 Uhr
Samstag: 11:00 – 14:00 Uhr

Adresse: Glockenturm, Schlossberg 6, 8010 Graz
(Gegenüber des Ausgangs der Schlossberg Bahn)


Kontakt Künstler:
Rene Berghold
http://www.reneberghold.com

Kontakt Kuratorin:
Daniela Haberz, M.A.
AØH Art Consultancy Haberz E.u.
Mobil: +43 (0) 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org


On Friday, 5th of May 2017 at 4.00 p.m. the exhibition ‘Ding Dong World Peace’ by emerging Austrian artist Rene Berghold in the framework of ‘YACA (Young Austrian Contemporary Art) – Visiting Schlossberg Mountain’ opens in the Bell Tower on Schlossberg Mountain in Graz, Austria.

The Bell Tower, a former prison and landmark situated on Schlossberg Mountain in the midst and overlooking Graz, Austria will be transformed into a sound cloud reverberating the sound of the nearly five tonne bell and transforming the sound into the melody of the European Hymn ‘Ode to Joy’ by Ludwig van Beethoven.

Sound installation ‘Ding Dong World Peace‘, 2017 Documentation video:  ‘Ding Dong World Peace’, 2017

The mirror installation ‘Freigeist/ Geistfrei’ in English ‘Libertine/ Empty Minded’, 2017 questions our mirrored-se

lf on our position between this counter-positioning word-pair. We are driven to decide if the ‘Free Spirit’ that the European hymn expresses is still reality for today’s Europe and if we live up to it with all the consequences or are we simply choosing bits and peaces and leave the rest as we please, therewith rob the ‘Libertine’ approach of its immanent content.

An important part in Berghold’s works are the titles, adding a further twist to the visual imagery that, often with a humorous approach on plain sight, faces us with an underlying critique on society and ourselves on closer examination. The way to success for an artist becomes apparent in a video installation whereby the artist hammers his way through a wooden chair and afterwards sits down on the empty space. ‘Der Künstler schlägt sich durch/ Der Künstler setzt sich durch‘, 2015 ‘The artist ekes out a living/ The artist asserts himself‘, 2015, wittily portraying the seriousness of an artist’s way to success.

A guided tour by myself in my role as the curator of the exhibition series and the artist Rene Berghold will take place on the opening day at 3.00 p.m

The exhibition is a project by the AØH Art Consultancy Haberz headed by Daniela Haberz, M.A. funded by the City of Graz and the Mayor of the City of Graz.

We look forward to your visit and reviews, following all data on one sight.

Download Press release English: Press release English

Copyright Artworks: Rene Berghold

Copyright photographic documentation: AØH Art Consultancy Haberz E.u.

Daniela Haberz, M.A.

Curator AØH Art Consultancy Haberz


Opening: 5th May 2017 4.00 – 7.00 p.m.
Press tour: 05th May 2017 at 3.00 p.m.
Duration: 06th May – 03rd June 2017
Finissage: 03rd June 11.00 a.m. – 02.00 p.m.

Opening hours:
Friday 2.00 – 6.00 p.m.
Saturday 11.00 a.m. – 2.00 p.m.

Address: Bell Tower, Schlossberg 6, 8010 Graz
(Opposite the exit of the Schlossberg cable car)


Contact Artist:
Rene Berghold
http://www.reneberghold.com
Contact Curator:
Daniela Haberz, M.A.
AØH Art Consultancy Haberz E.u.
Mobil: +43 (0) 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

 

Angelika Loderer in der Secession Wien

img_7349 img_7348 img_7353 img_7355 img_7360

Courtesy Dokufotos: Daniela Haberz, M.A. für AØH Art Consultancy Haberz E.u.

Courtesy Kunstwerke: Angelika Loderer

Derzeit stellt die junge Künstlerin Angelika Loderer in der Wiener Secession ihre aus drei verschiedenen Sandsorten bestehenden Objekte aus, die wie in der Luft schwebend in einer langen Reihe angeordnet sind, wobei sich die Dreiecksformen im Luftraum als Muster dreidimensional verschieben.

Die junge Steirerin arbeitet in Wien und Feldbach in der Steiermark und hat an der Universität für Angewandte Kunst bei Professor Erwin Wurm ihren Abschluss gemacht, sowie am Wimbeldon College in London studiert.

Sie hat 2012 in meiner Galerie para_SITE eine Installation mit dem Titel ‘Chronicle of the Ephemeral’ in Graz gezeigt und im Jahr darauf mit derselben Präsentation während der Kunstpreisausstellung des Landes Steiermark im Kunsthaus Graz den Con-tempus Award gewonnen.

Die aktuelle Ausstellung der jungen Steirerin in der Secession Wien ist auf alle Fälle eine Reise Wert um sich die Skulpturen von der Nähe aus anzusehen um sich selbst ein Bild zu machen und stellen eine gute Investition für Kunstsammler_innen dar, die in zeitgenössische Kunst investieren.

Ich freue mich zu sehen, dass Angelika Loderer im heurigen Jahr eine Präsentation in einem Haus wie der Secession gelungen ist und bin stolz, dass ich als Wegbereiterin für ihre Karriere in der Steiermark dabei mithelfen konnte.

Die Ausstellung ist bis 26.03.2017 im Grafik Kabinett der Secession Wien zu sehen.

Mit besten Grüßen

Daniela Haberz, M.A.

Kontakt für Rückfragen zur Ausstellung:

www.secession.at

Kontakt Künstlerin:

www.angelikaloderer.at

Imitating Imitation – After Clement Greenberg

Folk Culture has been imitated resulting in ‘Kitsch’ says Clement Greenberg, which was filled with concept and meaning therewith brought to a higher level, a network of strings resulting in a story for art that has the possibility of success and recognition in the art world due to an underlying concept created by critics and curators.

Duchamps the father of the Avant-Garde which Kitsch was followed by took an object of everyday life, a urinal, sent to the Armory Art Fair in New York. He brought the every day object and simply signed it, therewith giving it an additional twist. The object wasn’t a mere object of daily life any longer, he so-to-say ‘forced’ the high elite art world to confront themselves with the banality of every-day life. The transition from ‘Kitsch’ to art recognised in art history has been achieved by something as simple as a tongue-in-cheek moment, by someone who had the guts to create something out of nothing and opened our eyes for the everyday world, we let pass by too easily, being consumed by our day-to-day routine.

When starting to re-write the history of contemporary art I first began with the comparison of two artists which only by engaging with Clement Greenberg’s writings I realised he was doing the same. He started with Giotto and Raffael and I started with Monet and Manet both pairs bear similarities in their way of painting however, with one main difference one seemed to have more budget as the other. Researching the visual material by Giotto and Raffael I noticed that Raffael used more expensive colours than Giotto.

My former research on the Sixtine Chaple and Michelangelo Buonarotti’s life led to the conclusion that Michelangelo worked for two commissioning parties and with his commission by the Pope back then allowed him to buy more expensive art materials which resulted in works with a stronger colour palette. The same seemed to have appeared with Giotto and Raffael. Both seemed to have worked for the church but Raffael painted ruby red robes of priests and the Pope, Giotto used fainter colouring.

With Monet and Manet my research showed that Manet painted Monet painting on his boat who seemed to have more expensive art material again, whereby jealousy seemed to play a major role as well or another explanation could be a name change when becoming more renowned.

However, back to my research on Clement Greenberg’s writings.

When reading his book Selected Writings and Critics I realised that he favoured particular artists and they became successful others didn’t, it can be said that the curator and critics play a major role in making or breaking an artists careers which might seem unfair to some but this is the course of definition of art historical movements, as already described in my critique on Lee Ufan’s writings ‘The grey-zone between Arte Povera and Minimalism’.

The success of artists and art movements is clearly linked to art critique and curators themselves who therewith create their own history of art in the course of their engagement with arts.

The point I reached in the past few weeks engaging with art historical renowned artists showed me that most art has been created by the more art historically renowned artists therewith everything has been done once before. So what can you do when everything has been done before and artists or curators only follow other colleagues paths?

Is it the imitation Greenberg talked about, and where do we draw the line between imitation and copying? Is the only real hand-writing of an artist to be seen after decades or does it end, when looking at a CV which shows their art teachers which leave nothing but a fine line to recognise the thought from the teaching?

In my curatorial projects I always try to give artists space to create something for a particular space, which results in new works or installations to be created. Some took that chance, others left it aside and installed existing work, but the ones that engaged with the space were the ones that became successful. One might reason: Hard work always pays off, maybe to a Wagnerian ‘Gesamtkunstwerk’ that leaves room to pause and think, like with Mark Rothko’s room at the Tate Modern in London. But the younger generation artists still give us the chance to learn and even curators and gallerists need to be open for the young generation even though their work might bear similarities to art historically renowned artists, because starting from that point of a Wagnerian ‘Gesamtkunstwerk’ and a already written art history is a difficult point of departure which means we have to scatter our entire knowledge and take it apart to be open for something new.

Otherwise one day you might face yourself with a crowd of artists in a travelling art show wandering from one institution to the next and forget to pause and think about something newly suggested to you.

The problem this entails and this brings me back to Clement Greenberg’s Imitation I started with is ‘What if you come across the person, be it artist or curator that started to imitate before yourself? He or she faced the same issues but little ones might have realised that they followed the same path. So like mentioned above we need to keep an open mind for our contemporaries and stop dwelling about the past.

Daniela Haberz, M.A.
Independent art critic and Curator

Contact:

E-mail: dhaberz@artconsultancyhaberz.org
Mobile: +43 (0) 664 182 8678
Web: http://www.artconsultancyhaberz.org

Mono-Ha The grey-zone between Arte Povera and Minimalism

Lee Ufan Selected Writings – A Geographical Localisation

In addition to the subject object allocation of Foucault’s the difference of the two access points is the rooting to a particular place not as with Foucault an undefined spatial allocation that can happen everywhere around the world.

Lee Ufan therefore grounds the lightness of Foucault’s to a specific place which adds a fourth component to the reasoning of Foucault, who only engages the three components: The viewer, the object and the empty space in between. Lee Ufan adds a fourth component the geographical positioning named topography, the space allocation to a specific geographically determined place and roots the scenery to a be it permanent or temporary place.

The grey-zone, the extension of subject object and in-between therefore shrinks and densifies to a place that the curator or artist chooses for his work.

Foucault left this one constant aside and Ufan’s theories brings the work to a more site-specific and further determined installation that place the scenery in real-space rather than an illusionary undefined setting.

Ufan says himself he actually wanted to become a composer but then only became a mere painter and sculptor which he didn’t want to be in the first place. He says in Japan they have a saying that a stone is decaying in the end but a Korean saying speaks of the dissolution of the stone instead.

We can therefore reason that at the end of the day the Mono-Ha movement had a greater influence  on him as the dissolving of stones into almost nothing but space or mist brings us back to the dissolution of the object per se but still the specific site remains in his equation being a further development of Foucault’s original approach that he did not include in his writings. Might it have been unnecessary for him to follow or not, might he not have studied Lee Ufan’s writings we can not proof today but the further determinant of a geographical allocation seems a very important fact for me as it roots people to a specific place which as well brings more quiet in life opposed to the constant migration from one place to the next.

Ufan therefore rather defines installations further and the grey-zone of his works and art in general are actually diminished and art historical allocation leading to the two art historical periods Arte Povera and Minimalism, starting with Celant’s definition of the term ‘Arte Povera’ results in a defined art period and locates the first in Italy of the 1950s. The constant flux of art periods is therefore reduced and gives way to installations and art spaces that are located in cities, as well as  the country side but are determined by one crucial fact, the geographical positioning.

Daniela Haberz, M.A.
Art Consultant and Curator

Lee Ufan is represented by Lisson Gallery, London
Contact: contact@lissongallery.com
Web: http://www.lissongallery.com

Contact:
AØH Art Consultancy Haberz
Daniela Haberz, M.A.
Mobile: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

Conversation series G.R.A.M at Christine Koenig Gallery

Guenther Holler-Schuster & Martin  Behr currently show as G.R.A.M. at Galerie Christine König in Vienna.

Today, a conversation between Günther-Holler Schuster will take place starting from 1.00 p.m.

G.R.A.M. show politically determined re-enactments which are taken from the real world shown in different settings and with clothing that is loaded with certain political orientations.

G.R.A.M. had a residency at the Schindler House where their series Paparazzi was developed to be shown at the Grazer Kunstverein in 1997 portraying celebrities.

Due to the death of Lady Diana coinciding with the exhibition at the Grazer Kunstverein the work back then was highly controversial therefore this part of the exhibition cancelled in respect to the Royal Family.

At the same time a new work by G.R.A.M. was developed a Vespa crashed in an accident, later spray-painted and today in the Belvedere Collection.

The exhibition at the Grazer Kunstverein was curated by Thomas Trummer and Eva-Maria Stadler.

Today Günther-Holler Schuster works as a curator of the Neue Galerie, Graz and Martin Behr is a journalist of Salzburger Nachrichten.

The exhibition at Galerie Christine König runs until 23rd December 2016

http://www.christinekoeniggalerie.com

Daniela Haberz, M.A.

Art Consultant and independent critic

 

 

‘Le Sommeil du temps’ by Francis Alys

image

‘Le temps du sommeil’ by Francis Alys Installation shot at Secession Vienna, November 2016

Like a cobweb of knots that spans accross the entire city.

A sequence of 86 paintings with little images of comtemplative scenes started for me with a work showing two strings that span a virtual triangle accross the exhibition room.

Like immanent in his works Alys creates  a little story that he sequences and catch our eye like being drawn into the little boxes he painted upon, waiting to be addressed and sent out into the world.

When I received the invitation card at home I pondered about my knowledge about Francis Alys and first kept the post cards in my bag for a while before I came home again and started to search my library for my long-time favorite book, ‘The lost clown’. Soon after I read the second book I got by Alys from my time at Lisson Gallery in London, where my additional payment to £ 400 a month was to take home a book every week so I added up an entire library after my two years time at Lisson Gallery.

image

Paradox of Praxis 1 (Something leads to Nothing), 1997 Installation shot at Secession Vienna, November 2016

image

Paradox of Praxis 5, Ciudad Juárez, Mexico (Sometimes we live as we dream and we dram as we live as we dream), 2013 Installation shot at Secession Vienna November 2016

Like immanent in his works Alys creates a little story that he sequences and hands over to the people that follow his path. In his two short films he counter-positions the pushing of a large ice-cube accross the city to the kicking of a fire ball accross a country field. As the ice cube melts in his first performance, at about the same amount of time the fire is extinguished in his second performance. The element of water therefore prevails the fierce burning of the fire ball and there is nothing left but a small ice-cube and some sparks of light.

In his work ‘Zocalo’, Alys asked people to stand in the shade of a flag pole in the midst of a Mexican square with the same name, and to follow the shade during the entire day, therewith portraying time that passes by like a sun clock that never shows the exact time.

Most works by Francis Alys are participatory but like with the work  ‘Rainbow’ by Olafur Eliasson always remember that there is more to life than working 24/7 not to be drawn into a continous time-loop, a day-dream. So take time to pause and stop leaving more to learn for another day.

Francis Alys is represented by Lisson Gallery, London

http://www.lissongallery.com

His exhibition at Seccession Vienna runs until 22nd of January 2016

http://www.secession.at

Daniela Haberz, M.A.

Independent art critic & Curator

AØH Art Consultancy Haberz

Review Art exhibition ARoS Museum, Århus (DK)

‘Rainbow’ by Olafur Eliasson

Copyright Art work: Olafur Eliasson

Copyright Photography: Daniela Haberz, M.A. for AØH Art Consultancy Haberz e.U.

Olafur Eliasson’s Installation ‘Rainbow’ located on the roof of ARos Art Museum spans in a circled shape on top of the roof of ARoS Museum in Denmark.

Approaching the museum over a concrete landing in front of the gallery ticket sale, I visited first the two exhibition, one a retrospective by Robert Maplethorpe,

image

Copyright Robert Maplethorp, Documentary Film at ARos Art Museum, Århus, DK

secondly the presentation by Greyson Perry, which did not convince me entirely as since his nomination for the Turner Prize with his mosaic vases he did not really develope any further in his ouvre, which showed at the same exhibition level.

as well as a sculpture by Ron Mueck,

image

‘Boy’ by Ron Mueck @ ARoS Art Museum, Århus (DK) Copyright: the artist Photographic Rights: Daniela Haberz for AØH Art Consultancy Haberz E.u.

whose work bears similarities to the works by Tim Nobel and Sue Webster, which I first saw at White Chaple Gallery in 1997. Their sculptures were much smaller and showed an aged couple reminding on cave people and therewith the evolution of mankind.

image

Self Portrait by Robert Maplethorp @ ARoS Art Museum, Århus, DK

This could as well be referenced to Mapplethorp’s photographic work which shows his finger pointing into an invisible distance referring to God’s creation and finger point to Adam, as well as the evolution of mankind,  documented on the Sistine Chaple Ceiling.

Whilst Tim Nobel & Sue Webster rather showed the evolution from Neanderthal cave people the evolution to the first man, Mapplethorp’s work portrayed famous celebrities of the art world be it artists, art collectors or his first love Patti Smith.

image

Self-portrait of Robert Mapplethorpe and Patty Smith @ AROS Museum in Århus, DK

The documentary film functioned similar to the box of Pandora, best known from the film Mullholland Drive which starts in a hotel room out of a box, out of which Kubrick’s story evolves, only to in the end of the film be returning into this box leaving the viewer with nothing else but the imagery of the box. In Mappelthorpe’s documentary he shows little film cameras from the sixtees and the short stories evolve out of this camera shown until the people portrayed go back in this filmic portrayed stories.

The stories entrance opens up similar like the camera lenses of the Musée the Monde d’Arab in Paris, where the lenses open and shut close by the sunlight like a camera lense works.

The little stories of friends and colleagues as well as collectors seem to be caught in this small stories, shut close by the camera lense, making us forget what we’ve seen until the next filmic portrait evolves. The marble sculptures shown in the rooms surrounded by Maplethorps’ photographic work remind of the marble sculptures first seen in Rome at the Vatican in 1994, where Michelangelo was lying sideways on a stone plinth facing the visitors.

Back to Mapplethorpe’s exhibition we can see that references can be seen everywhere and like I always say: ‘Patience and time is needed to fully understand what artists mean by their works.’

The visitor is even more challenged when the artist him- or herself can not answer anymore and has to rely upon the curator’s knowledge.

Going back to my first reviewed work the roof ‘Rainbow’ sculpture by Olafur Eliasson, situated on the roof top on the ninth floor of the ARos Museum in Århus, Denmark.

An oval shaped plexi-glass work with rainbow coloured plates running around the circles of the roof top. Inside it feels like you would wander around a real rainbow that just has been switched from being up in the sky temporarily being put in shape for visitors until going back floating in the air as a real rainbow again.

Like in Eliasson’s works immanent always a temporary nature, that can’t be properly caught by documentation photography.

However, always with a socially immanent side to it, like at TBA21 a project that engaged young fugitives giving them a fresh start in their country they have reached battled from war and other terrifying problems we can’t even imagine. However, is it always possible to save all is the question we have to pose ourselves? Can these projects temporarily be continued or is the end of a project the end of the green light for fugitives, which the main intention of the green lamps was and furthermore are collectors aware, which impact a work like this brings with it namely the support of the community that’s lower in ranks in our world, respectively is it the artist’s way to transfer this burden layed on him creating such a project simply to be forwarded to the next person in line?

Another well known work by Olafur Eliasson was the ‘Sun’ shown at Tate Modern in 2003. The work ‘Sun’ was presented at Tate Modern in the framework of Tate Commissions sponsored by Unilever, who later sponsored an installation by Rosemary Trockel and under the new patronage UBS, which succeeded Unilever’s sponsorship Ai Wei Wei was shown in the Turbine Hall, to be referenced to Olafur Eliasson, a project involving and co-operating with a community, who usually would not be able to get work easily otherwise.

Therewith escaping their boundaries for a short period of time, getting engaged with the arts, learning by doing, until they might be able to realise their own projects which also was shown in the kids educational  group on the level minus two, where young kids could engage with the art shown and get a first approach to the art world by drawing works on show.

The downside that unfortunately often prevails is the end of the project which returns most of their workers to their pre-designed path in their old surroundings.

Back to the work ‘Sun’ by Olafur Eliasson which as well was a participatory with a mirrored half that focusing with your eyes made an entire sun out of it. People gathered underneath on pillows to be mirrored on the ceiling themselves. One could say that Eliasson’s work created an entity that fascinates the crowd but at the same time, as well makes addicted to stay in this mesmerising surrounding loosing track of the real world as well as time only to return to the everyday mode a bit later.

To further describe the work ‘Rainbow’ by Olafur Eliasson at ARoS Art Museum, it can be said, that the circle made of plexi-glass plates, running in circle in different shades of colour like a succession of colour that reaches out to the Sky into a real rainbow, dissolving the work per se into a coloured mist that creates and lifts the entity back to an element nature produced and is brought back to nature only for a short while until it gives way to the ‘Sun’ by Eliasson at Tate Modern in London. The journey between his works seem endless. However, participating in creation or documentation of the works by Olafur Eliasson this leads to new projects and like in the case of Ai Wei Wei, the craftsmen and craftswomen in the factory used to produce the sunflower seeds made of porcelain painted by the factory workers can be either seen positive as new work comes to life or the negative side would be exploiting people, who are used to cheap labour workers.

This issue can be seen as a possibility to engage with a group as an artist that help him or her in the studios like with well known artists with a new project technicians and workers can participate in.

In the case of Baldessari who engaged ‘Sunday Painters’, namely painters who usually paint on the streets but know their craft who produced part of his works. This can also be linked to the Sistine Chaple Cealing where the corner spandrells might be painted by the Dutch group of painters as in the spandrell of Judith and Holophernes the head brought to the queen resembled Michelangelo’s head which might have resulted out of his double engagement between the church and one of the famous ruling families ‘de la Rovere’ out of which Michelangelo himself came and by whom he was paid as well not to starve on the street.

The issue of genuity of paintings or craftmade objects are an important point for our consideration.
Is the worker paid with a work of art that isn’t signed by the artist himself, left with nothing for their work as usually unpaid work, is renummerated with this and knowledge given to those workers, they can use for the future. The problem underlying projects be it art projects or normal contractor’s work is the issue of health insurance. Head of projects therefore have to find a way not to part with their team immediately but try them to continue the initiated projects after the head of project left.

The main conclusion and point I am trying to get across is the continuity that should prevail and not a short contracter’s working environment.

All in all it can be said that a visit to Århus, Cultural Capital in Denmark in 2017 is worth a visit but you should carefully book your journey not to get lost in a time-loop.

image

DOKK1 Library in Århus, Denmark

When you are there also check out DOKK 1 a newly built library and best get a tour to find everything more easily, like I did with my Internations Network.

All my best wishes and let me know if you have got further enquieries.

Daniela Haberz,M.A.

Mobile: +43 (0) 664 182 8678

E-mail: dhaberz@artconsultancyhaberz.org

Art Consultant, Curator and freelance art critic for AØH Art Consultancy Haberz, E.u.

If not indicated otherwise all photographic rights: Daniela Haberz, M.A. for AØH Art Consultancy Haberz e.U.