Franz Thalmair

  • 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,