An der Hülben

Very abstract and really figurative

Juliette Bonneviot, Julia Haller, Allison Katz, Birgit Megerle, Ulrike Müller, Seth Pick, Rita Vitorelli

July 4 – September 15, 2012

Very abstract and really figurative, 2012Installation viewLayr An der Hülben, Vienna

Very abstract and really figurative, 2012
Installation view
Layr An der Hülben, Vienna

Rita VitorelliIdylle (7), 2011Pencil, acrylic on canvas100 x 120 cm

Rita Vitorelli
Idylle (7), 2011
Pencil, acrylic on canvas
100 × 120 cm

Rita VitorelliIdylle (8), 2012Pencil, acrylic on canvas120 x 90 cm

Rita Vitorelli
Idylle (8), 2012
Pencil, acrylic on canvas
120 × 90 cm

Very abstract and really figurative, 2012Installation viewLayr An der Hülben, Vienna

Very abstract and really figurative, 2012
Installation view
Layr An der Hülben, Vienna

Very abstract and really figurative, 2012Installation viewLayr An der Hülben, Vienna

Very abstract and really figurative, 2012
Installation view
Layr An der Hülben, Vienna

Very abstract and really figurative, 2012Installation viewLayr An der Hülben, Vienna

Very abstract and really figurative, 2012
Installation view
Layr An der Hülben, Vienna

Very abstract and really figurative, 2012Installation viewLayr An der Hülben, Vienna

Very abstract and really figurative, 2012
Installation view
Layr An der Hülben, Vienna

Very abstract and really figurative, 2012Installation viewLayr An der Hülben, Vienna

Very abstract and really figurative, 2012
Installation view
Layr An der Hülben, Vienna

Allison KatzDufy, Katz Pears, Stehli, 2012Ink on gessoed paper

Allison Katz
Dufy, Katz Pears, Stehli, 2012
Ink on gessoed paper

Julia HallerUntitled, 2012Rabbit-skin glue, wall paint, acrylic, pastel gesso on linen200 x 150 cm

Julia Haller
Untitled, 2012
Rabbit-skin glue, wall paint, acrylic, pastel gesso on linen
200 × 150 cm

Julia HallerUntitled, 2012Rabbit-skin glue, wall paint, acrylic, pastel gesso on linen200 x 150 cm

Julia Haller
Untitled, 2012
Rabbit-skin glue, wall paint, acrylic, pastel gesso on linen
200 × 150 cm

„[…] this kind of painting also leaves room for missed opportunities and for situational contingency: it is possible to simply walk past without further consequences. Nonetheless, these paintings sturucture forays into what an image can be by inviting a curious gaze that might trigger the pleasure of their deplayment at any moment.

This conception of painting as passage renders it possible to characterize the relationship of intrinsic form and its references to the lifeworld as an open exchange. While it renounces a utopian hisotrical and philosophical definition of painting as history painting […], it also aims at addressing concrete persons and objects that reside in concrete spaces and networks. But, in so doing, it does not – and this distinction is crucial – simply reduce outmoded universalist claims to the biographical. Rather, it reflects on subjective contingencies and motivations throught its use of various formal languages.“

Achim Hochdörfer

„Das Dandyhafte […] bezieht sich jedoch nicht nur auf die Erscheinung im Sinne von Kleidung und Attitüde, sondern auch auf die dem Dandy implizite Aufhebung des Dualismus von Schein und Sein – der Schein trügt hier nicht, er trägt. Gesellschaftliche Konventionen stellt er infrage, indem er sie auf ambivalente Weise respektiert. Und so knüpft auch diese Malerei auf den ersten Blick an die Traditionen der Gattung an, um sie letztlich als Mittel für etwas anderes zu verwenden.“

Vanessa Joan Müller

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