Alfredo BARSUGLIA, Sevda CHKOUTOVA, Sonja GANGL, Aldo GIANNOTTI, Marlene HAUSEGGER, Michail MICHAILOV


Für alle, die es nicht zur DRAWING NOW 2018 nach Paris geschafft haben, gibt es nun Gelegenheit zu einem 2nd view!

Mit dem DRAWING NOW PARIS 2018 - ART AWARD Gewinner MICHAIL MICHAILOV.

Ausstellungseröffnung: 17.04.2018, 19-22 Uhr
Ausstellungsdauer: 18.04.-19.05.2018
Öffnungszeiten: DI-FR 14-19 Uhr, SA 11-15 Uhr

projektraum viktor bucher
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projektraum@sil.at
www.projektraum.at



ALFREDO BARSUGLIA, born 1980 in Graz (A), lives and works in Vienna

Alfredo Barsuglia works with different ideas and designations of space. Since the “spatial turn” or the so-called “topological turn,” space is no longer perceived as a Cartesian box defined by the conventional parameters of length, width, and height, but rather as a socio-cultural variable, as a field of possibility. The goal is not to just simply enter a space and more or less be in it, but to enter into a relationship with this space and interact with it. Barsuglia accordingly conceives of space as a network of events which are correlated in associative relationships and proportionalities, a network that is therefore to be perceived through being involved in these events. Esthetically appreciating and understanding this work can therefore only function by “going inside” experiences.

SEVDA CHKOUTOVA, born 1978 in Sofia (BG), lives and works in Vienna since 1997.

It seems appropriate to view Chkoutova´s work within the context of feminist art since the 1969s that has deliberately eschewed traditonal artistic forms, preferring to use emerging new media as well as one´s own body as a means of expression. Chkoutova has chosen drawing, a very traditional artistic technique she employs with great finesse and whose function she radically expands: drawing as a form of body art. Her awareness oft he pitfalls of representation, the deconstruction oft he image, the immediate, almost ruthless co-option oft he viewer and the use of her own body make drawing a universal mode if expression for Sevda Chkoutova.

SONJA GANGL, born 1965 in Graz, lives and works in Vienna

In her black and white drawings Gangl exposes the various stages of the medium’s reality until she reaches the final level where she exhibits an absolute command of the pencil. In the history of art, drawing is considered as the preliminary stage of painting, which tries to refer to a reality beyond itself. In Gangl’s latest works, photography plays an important role by predefining the details of the image and thus the realities that are represented in the drawings. Gangl’s new works allude to the dialectic between conveying the actual pictorial scenarios and connecting to instances in art history where the individual stages of history and the development of the medium depend on each other. Her point of departure is the photographs she has taken in various locations, such as at Vienna’s main produce market where she captured the packaging of fruit and vegetables. Departing from these photographs, she then re-evaluates the position of still life in art and the history of art through her drawings.

ALDO GIANNOTTI, born 1977 in Genova (I), lives and works in Vienna since 2000.

Spatial Dispositions is the new, wide-ranging project of Vienna-based Italian artist Aldo Giannotti. It consists of a three-part publication that incorporates possible concepts – or conceptual possibilities – for installative performances, which the artist will prepare for three different art institutions (Albertina, Vienna, ar/ge kunst, Bozen; The Showroom, London; Kunsthaus Graz; LENTOS Kunstmuseum, Linz). Drawing, as a planning tool, has always been integral to Giannotti’s artistic practice. He is curious about constructs such as personal and cultural identity, collectivity and mechanisms of power, and often stages situations involving visitor participation. By shifting and rearranging symbols, he challenges the meaning of terrains and spaces such as nations, institutions and individual positions.

MARLENE HAUSEGGER, born 1984 in Leoben (A), lives and works in Vienna

It's not grafitti, it's not street art and it's limited to Land Art - if anything, then some of Marlene Hausegger's work is land art en miniature - yet some of these traditional dispositives are a suberversive mark of public spaces on theirs Work off. The artist, however, is not concerned with the aesthetic conquest of territorial expanses or with the aggressive 'weakening' of the architectural skins of representative or administrative architecture, but with almost incidental interventions at the edge where the public and the private meet, collide, occasionally overlap. It raises the question of the tyranny of ubiquitous administration and utilization of space and is in search of those interzones that have not yet been recorded and mapped or have already been abandoned. Those "non-places" that seem lifted out of the space-time continuum and turn out to be useless in the sense of a capitalist logic of accumulation, but in their oblivion away from the bustle of business, light up like magical parallel universes.

MICHAIL MICHAILOV, born 1978 in Veliko Tarnovo (BG), lives and works in Vienna since 2002.

In his work Mikhail Mikhailov deals with the important questions of human life, especially artistic existence. Success and failure, self-discovery and self-doubt, the pursuit of happiness, the overcoming of boundaries are recurring themes. He infiltrates the usual / common processes and practices in a self-ironic way criticism of society and the art market. Subversively, he manipulates advertising posters from museums and adds, for example, his name (Wall of Fame, 2006) or appropriates works by other artists (Mona Lisa, 2009) to use as a foundation for his own artistic work. As a temporary cleaner in a well-to-do household (The Work, 2007), he slips out of the agreed role to use the home and inventory as a venue for video work.In his drawing series "dust to dust" (2014 -), he focuses on the dust fluff and stains that have accumulated over time in his studio and reproduces them faithfully with colored pencil on paper. On the one hand, it brings an unobserved phenomenon - the accumulation of dust and dirt - into our consciousness, and on the other, it elevates dirt to a work of art. The intense effort required by his graphic reproduction is in strong contradiction to the actual value of the source material.In addition, Mikhail Mikhailov sees the contemplative activity of meticulous depiction as a process of inner purification, which he contrasts with external cleansing, the cleansing of his studio of dust, in order to achieve perfection on both sides, internally and externally.The drawings are presented by Mikhail Mikhailov on the wall, but occasionally also horizontally on the floor or on a pedestal. Lying, the drawn nature studies seem to have accumulated dust on these surfaces, and in fact it is possible that the drawn dust is gradually supplemented by real dust.
Elsy Lahner, curator Albertina Vienna