• Daniel Knorr, Block, 2014, violin, cello, double bass, harp, timpani, flute, iron cage, chain, padlock, 11' 5 3/4“ x 9' 10” x 9' 10".

    Daniel Knorr

    Galerie nächst St. Stephan Rosemarie Schwarzwälder

    In his recent exhibition “Lunarium,” Daniel Knorr presented works (all 2014, although some belong to series begun earlier) that translate various readings of urban space into the gallery sphere. The series “Berlin Wall,” 2014–, and “Depression Elevation,” 2013–, might be described as transformations of metropolitan action scenes into imagery and objects. In “Block,” 2009–, and Lunarium (the latter is the first and so far only work in a new eponymous series begun this year), Knorr experiments with performative theatrics that involve viewers in the process of visualization.

    Lunarium was set up in

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  • View of “Sofie Thorsen,” 2014. Foreground: Screen 2, 3, 4, 2014. Background: Screens Within Screens/1 (detail), 2014.

    Sofie Thorsen

    Krobath | Wien

    “Just as axonometric projection eliminates every fixed, unique viewpoint,” writes Yve-Alain Bois in his essay “Metamorphoses of Axonometry” (1981/1983), “so it has been used throughout history in a multiple, contradictory fashion.” Sofie Thorsen’s recent work evokes parallel complexity, exploring axonometry through wall drawings and panels in a series of “Screens Within Screens,” 2014. While this title refers to one specific component of her work on view—meshes of black-line wall drawings executed on three of Krobath’s five walls—it also describes the multiplication and interplay of

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