Franz Thalmair

  • picks December 05, 2013

    “S/he Is the One”

    The joining of opposites not only characterizes the title of the exhibition “S/he Is the One,” but it also speaks to the reality-forging dimension of performative art in feminist and queer contexts presented at the center of this show. Historical as well as contemporary positions on the subject confront each other in the well-designed curatorial layout by Ursula Maria Probst, who plays with the physicality of the space by alternating dense and open installations of the included works.

    Within these dual tensions, “Untitled (Glass on Body Imprints),” 1972, by the Cuban performance artist Ana

  • picks November 11, 2013

    UBERMORGEN

    Roland Barthes once famously proclaimed that as individuals we must become active within a system in order to demonstrate our agency and, as circumstances require, offer resistance, which means (in terms of semiotics) to distort the codes rather than to destroy them. UBERMORGEN’s current exhibition, “userunfriendly,” unpacks this idea through the lens of media activism and institutional critique. Hans Bernhard and Lizvlx (Maria Haas) achieved prominence as an artistic duo with [V]ote-Auction, 2000, a work that is featured prominently here. During the 2000 US presidential election, voters could

  • picks July 17, 2013

    Nikolaus Gansterer

    Art and science generally complement each other, like two sides of a coin: When one moves into the foreground of thought, the other continues to operate in the background, and vice versa. With his current exhibition, Nikolaus Gansterer succeeds in making these two proverbial levels visible at the same time. Here, Gansterer combines experimental procedural methods à la Athanasius Kircher with the rich modernist formalism of Alexander Calder through his own network of diagramatically drawn spaces.

    The fragile drawings that Gansterer renders on two-dimensional media, such as paper or vellum, only

  • picks June 19, 2013

    Sofie Thorsen

    The light and playful way children experience the world is especially in evidence when they interact with the objects in their immediate environment—experimenting with forms and materials, continually shaping them into new creations and figures of thought. The exhibition of Danish artist Sofie Thorsen, who lives in Vienna, takes as its point of departure the phenomenon of so-called play sculptures, whose pipes, caves, platforms, ladders, peepholes, and hiding places found their way into the destroyed cities of postwar Europe and provided much-needed free spaces—spaces for the imagination—for

  • picks May 18, 2013

    Esther Stocker

    Artist Esther Stocker either chases images into the space of the viewer or drives them back into the shallow depth of the wall. At the center of her artistic practice exists the grid—the foundational organizing principle and paradigm of visual art of the twentieth century that was lauded for its generative output while maintaining an imperviousness to change. Stocker offers new variations on the grid in this exhibition, be they in black, white, or shades of gray, as well as structured in new artistic media.

    In her untitled series from 2013, Stocker transfers photographs of her previously painted

  • picks March 28, 2013

    Daniel Egg

    Since at least the 1960s, the visual dimension of language and the linguistic dimension of the image have evolved into phenomena on equal footing, exerting a broad influence on art production to this day. Daniel Egg takes this as a point of departure for his latest exhibition, “Words – On Air,” and analyzes the twenty-six letters of the English alphabet. His photographic series “Information Stream,” 2010, consists of supposedly scientific photographs of cigarette smoke, changing from yellow-white to gray. To produce the work, the artist stood in a darkened space and exhaled smoke against a light

  • picks February 09, 2013

    “Cinematic Scope”

    Mixing black and white yields a spectrum of colors that fall under the shade of gray, of course, and this group exhibition likewise pursues a blend between the black box of the movie theater and the white cube of the gallery, a long-standing couple that is here reconsidered. The exhibition comprises works by six emerging artists who reflect on the potential of manipulating cinematographic content, form, and material through a variety of approaches that draw upon the legacy of the Expanded Cinema movement via a digital, twenty-first-century perspective.

    The interplay between projector, screen,