Brigitte Huck

  • Matt Mullican

    The Jewish community of Vienna is erecting an eruv. This is a symbolic wall, the ritual extension of a private space up to an agreed-upon boundary, whose purpose is to make life easier for Orthodox Jews observing Shabbat. Architecture critics have called it rabbinic urbanism. Matt Mullican’s urbanism is not dissimilar in its rabbinic acumen and cognizance of the relative nature of reality, but his purpose is to explore perception as an interpretation of an existing, visible reality. His starting point here was what he calls the labyrinth of the Kargl gallery—which begins at a back alley storefront,

  • Daniel Pitín

    Artistic explorations of cinematic conventions have grown to become their own field. The canvases of Daniel Pitín, a painter born in Prague in 1977, are steeped in cinematography. “My work begins in front of the monitor,” the artist has said. “I watch different films and wait for a scene to capture me. I like rather undetermined situations, just fragments of whatever story. A movement, a scream, a fall . . . .” Once a moment has been extracted, Pitín paints an unflinching, obsessive, magical picture. He evokes the Hollywood myths conveyed by the great storytellers of American cinema, but he

  • Marcus Geiger and Axel Huber

    Marcus Geiger is known as a master of understatement. A relentless antitoxin in the operating system of the art world, he does what he can to resist the principles of the marketplace and its eternal quest for increased value, to oppose the co-opting force of elitism, and to rehabilitate the ordinary and the quotidian. He uses the simplest materials, such as terry cloth and felt, with a persistent and pointed refusal of meaning. In short, Geiger regularly thumbs his nose at the art industry and the ways it assigns value.

    Casually disregarding the invitation to mount a solo show—a professionally

  • Matthias Herrmann

    For many years, Matthias Herrmann was able to keep his two jobs entirely separate: He is an artist who specializes in self-portraits as well as president of the artists’ association the Vienna Secession. But when Eva Schlegel invited him to photograph her exhibition in the main hall of the Secession in 2005, he saw an opportunity to mix things up a little. The figure Herrmann cut on the stage of this first white cube of modernism is that of a conceptual photo artist undaunted by even the most extravagant corporality. Schlegel had covered the walls with lead, adding circular mirror units on the

  • gelitin

    The artists formerly known as Gelatin—Ali Janka, Wolfgang Gantner, Florian Reither, and Tobias Urban—have been working since 2005 under the name gelitin, probably in order to stop being confused with calves’-foot jelly and shapeless, quivering blobs. After all, this Austrian artists’ collective has historically been far more interested in mud. Take, for example, last year’s exhibition at the pristine Kunsthaus Bregenz, where visitors were invited to join in veritable mud orgies in a “Mudplex,” which became the scene of sometimes quite impassioned mud wrestling. (The sensual pleasures of gelitin’s

  • Elke Krystufek

    Cinema is at the center of Elke Krystufek’s marvelous exhibition “Liquid Logic: The Height of Knowledge and the Speed of Thought.” Dividing the gallery space with white sheets of plastic that extend from floor to ceiling, she shields her new video, Dr. Love on Easter Island, 2006, from intrusion from the rest of the museum. After all, her theme is the life of the artist and the disappearance of this specific way of being under pressure from the institutions of art. The video shows Krystufek following in the footsteps of Bas Jan Ader, who was lost at sea in 1975 while attempting to cross the

  • Lisl Ponger

    For the Dak’Art Biennial of Contemporary African Art 2004, Austrian artist Lisl Ponger hoped to photograph selections from the famous ethnographic collection of Dakar’s Musée d’Art Africain. As she waited for permission from the museum, she started a series of photographs in her hotel room; when the official okay never came, these works became her biennial contribution. Si j’avais eu l’autorisation . . . (If I Had Had Authorization . . .)—thus ran the project’s subjunctive title—then she wouldn’t have stayed in her room photographing props from her own personal archive of materials relating to

  • Marcin Maciejowski

    Having been invited by Thomas Trummer, curator of the Österreichische Galerie Belvedere, to be an artist in residence at the Atelier Augarten for the summer of 2006, the Polish painter Marcin Maciejowski could hardly help responding to the Belvedere’s large Gustav Klimt collection and the countless works by Egon Schiele in Vienna. Maciejowski studied these local fin-de-siècle heroes, painted as if obsessed for nights on end, and then cavalierly populated the Augarten’s international group show “after Schiele” with his own works; he also mounted a solo show at the Galerie Meyer Kainer. The

  • Ernst Caramelle

    This show is a kind of commentary on what moves Ernst Caramelle in his life in art. Pigment on plaster, color on walls, sunshine on paper, a folio of delicate drawings con brio—from these basics this cosmopolitan artist, born in Tirol in 1952, composes a topographical intervention in the galleries, with an “ultra-light gesture,” as the title of one of the drawings, from 2001, also suggests. Caramelle’s aesthetic is based on those processes that, in contrast to physicality and gesture, take thought and concept as their central point of departure. And since for Caramelle there are no ideas without

  • Florian Pumhösl

    What does Oskar Schlemmer’s Triadic Ballet, 1916, have to do with the navigation of warships? Florian Pumhösl has explored this unexpected question in a new group of works. Pumhösl, an artist of great precision, is interested in the relationship between bodies and space, and he studies this relationship by way of superflat surfaces that he ultimately brings into relation with a superexact spatial balance: With just four works, Pumhösl succeeds in lending the small exhibition space of this Vienna gallery an air of breadth and elegance.

    Pumhösl’s footnotes to modernism seem austere, almost

  • Leopold Kessler

    Austrian artist Leopold Kessler, born in Munich in 1976, understands art as a kind of social service, a public act accessible to all, even though the public probably won’t even notice his scarcely perceptible interventions. The results are often unpredictable happenings in the contested territory where the real world and the artistic realm meet. Disguised as a manual laborer in a blue coat and an orange vest, Kessler goes stalking through the urban streetscape, installing speakers and microphones or rolling some three-quarters of a mile of electrical cable through the streets of the city, as he

  • Gerald Rockenschaub

    MUMOK is a hermetic, nearly windowless building that is anything but open and airy. It takes a master like Gerwald Rockenschaub to give this bunker a sense of weightlessness and openness—and that despite the show’s notoriously difficult format, the retrospective. Turned off, perhaps, by the prospect of yet another anxious heaping up of work, Rockenschaub rose above the usual demand for overflowing halls with a self-assured display of nearly empty space. With the precision of a marksman (and just twelve works), he hit the bull’s-eye.

    “4296 m3” is a cryptic title with a simple explanation: It refers