Fixing One’s Gaze with Landscape - Mit Bergen den Blick reparieren at Kunstverein Kärnten / Klagenfurt

Fixing One’s Gaze with Landscape - Mit Bergen den Blick reparieren at Kunstverein Kärnten

presents works by:


Stella Antares (AUT)

Oscar Cueto (MEX)

Gerhard Fresacher (AUT)

Eva Funk (AUT)

Nina Herzog (AUT)

Leon Höllhumer (AUT)

Daniel Hosenberg (AUT)

Evelina Jonsson (SWE/E)

Yein Lee (KOR)

Meina Schellander (AUT)

Patrick Topitschnig (AT)

Chin Tsao (TW)

Eugen Wist (D/RUS)

Gisela Zimmermann (D)

 

Performances with Pope Sangreta and Gerhard Fresacher


Curated by Céline Struger


Kunstverein Kärnten

Künstlerhaus Klagenfurt, Goethepark 1, 

9020 Klagenfurt

https://www.kunstvereinkaernten.at




July 10, 2020 - August 8, 2020

Closing party August 8, 2020 17:00 -24:00

 






Meina Schellander Offene Figur 2010, stainless steel, 211 x 596 x 407 cm


Nina Herzog, Leon Höllhumer, Yein Lee

Leon Höllhumer Charakterstudie I and II, digital prints on PVC, 130 x 100 cm

Nina Herzog Schlafwandler 2020, wood, metal, 200 x 75 x 120 cm

Nina Herzog Schlafwandler 2020, wood, metal, 200 x 75 x 120 cm

Nina Herzog, Untitled 2020, wood, metal, 47 x 33 x 35 cm

Yein Lee, no-named 2019, resin, latex, stainless steel, found objects, 78 x 40 x 25 cm

Yein Lee, You must have misunderstood me 2020, resin, latex, found objects, 60 x 47 x 50 cm

Yein Lee, You must have misunderstood me 2020, resin, latex, found objects, 60 x 47 x 50 cm

Meina Schellander, Yein Lee, Daniel Hosenberg

Meina Schellander T 2006, stainless steel, 560 x 330 x 6 cm
Daniel Hosenberg land.schafft.spuren I and II, acrylic paint on PVC print, 200 x 135 cm

Yein Lee, The last Course of today is your big ego 2020, resin, latex, found objects, 95 x 70 x 50 cm
Gisela Zimmermann, zwoelfschichten-mai-2020-pour Céline 2020, ink, pigment on canvas, 190 x 300 cm



Gisela Zimmermann 4_1_19 and 4_3_19 2019, ink, spray paint on chromalux paper, 100 x 70 cm
Eva Funk, Patrick Topitschnig

Eva Funk Tent Drawing Part 01, fibre glass, metal, fabric 2019 140 x 120 x 180 cm
Eva Funk My Clone Sleeps Alone (soft shells) 2020, coloured rice paper, dimension variabel
Patrick Topitschnig Careful Icarus (Orange-Grey II) 2016, C-Print on Hahnemühle paper, dibond, 43 x 90 cm

Chin Tsao, Eva Funk, Patrick Topitschnig



Chin Tsao, The Everlasting Sunset 2019, glazed ceramics, 70 x 30 x 20 cm

Eva Funk


Chin Tsao THE SLOW DAWN 2019, glazed ceramics, 60 x 32 x 10 cm

Eugen Wist Untitled 2020, strawberries smeared on wall, size variable

Eugen Wist Untitled 2020, strawberries smeared on wall, size variable

Evelina Jonsson, Eugen Wist

Evelina Jonsson Charlene 2020, 3-channel video installation 

Eugen Wist, Dying Ember I and II 2019, tin, steel, cable, LEDs, 155 x 70 x 60 cm and 45 x 40 x 50 cm


Gerhard Fresacher, Oscar Cueto Young

Oscar Cueto Young Revolutionary 2018, digital animation, 2’22’’

Oscar Cueto Young Revolutionary 2017, drawing on cotton paper, 150 x 100 cm

Gerhard Fresacher sketches 2020, found objects, polyester, paint, 40 x 30 cm

Gerhard Fresacher H2He3 2020, cardboard, mixed media, paint, 220 x 140 cm

Patrick Topitschnig FELD 2019, Video DCI 4k 16:9, 5’21’’

Gerhard Fresacher sketchbook 2015-2020, 40 x 60 cm
Stella Antares Hofansicht 1970 2014, print on dibond, 70 x 100 cm


Yein Lee, The last Course of today is your big ego 2020, resin, latex, found objects, 95 x 70 x 50 cm

 


 

 Show photographed by Johannes Puch

 


 

”Oh how beautiful, look at the crimson snow! And up there o the rocks there are ever so many roses!”                                                                                                 

 

”It was so lovely, Heidi stood with tears pouring down her cheeks, and thanked  XXX for letting her come home to it again. She could find no words to express her feelings, but lingered until the light began to fade and then ran on.”

                                                                                                            Johanna Spyri, HEIDI (1880)“

 

 

For “Mit Bergen den Blick reparieren / Fixing One’s Gaze with Landscape” both Austrian and international artists are investigating the filters of human perception regarding the landscape they are born in. Starting from reflexions on their individual cultural backgrounds they explore the representation of landscape as an enticing promise or a bone-shattering cultural threat. 

Landscape is not an exclusively private good, it’s critical reception is usually collective and, -ideally, for free. Historically it was and is occupied by all kinds of stakeholders for a variety of agendas. Artists, however held some authorship in the design of landscape, granting their recipients room for projections, memories and dreams. Starting from diverse media (print, sculpture, painting, photography, sound/video and performance) the artists approach the interfaces of landscape aesthetics and its instrumentalization. The aim is to dissolve the categories of display, installation and stage and evaluate the romantic concept of “the healing landscape” in a collective manner. 

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