Octavian Trauttmansdorff

Galerie Krobath Wimmer

In this gallery, like many others, there are discrete spaces for exhibitions and offices. In his recent show, Octavian Trauttmansdorff inverted the function of the two areas: The gallerists worked in the exhibition space, directly in front of a picture window, while the artist installed photographs and a video in the traditional working space. This process of making the gallery’s working conditions and business visible is, of course, reminiscent of Michael Asher’s T975 gesture concerning the material “support system” of the apparently neutral aesthetic experience.

The walls around the new desk areas were covered with the works of artists represented by the gallery, run by former employees of the Galerie Pakesch, a crucial venue in Vienna in the ’80s and early ’90s. Although some “new” artists were on view, the majority of the work shown represented a piece of (art) history—a lively moment

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