At the center of her drawings is, lies, sits... the human figure, devoid of realistic perspectives or proportions, floating weightlessly in the space of the sheet, often defined only by a black outline.
It expresMarc Adrian was a friend to me above all. My travels to his house in Sardinia, the conversations with him, have become a part of me. Of course, there would be a lot to say about his art. Much of it can be seen in the Austrian Gallery Belvedere in Vienna. His kinetic art is outstanding. Unfortunately, I neglected to scrounge a work from him. I didn't expect his death when it just came too early for me. His experimental films are epochal masterpieces of film montage: thoroughly composed and taboo-free. His monographs published by Ritter are recommendable compendia of a multi-layered artist. (Clemens Feigel)
More information on wikipedia Marc Adrian
At the center of her drawings is, lies, sits... the human figure, devoid of realistic perspectives or proportions, floating weightlessly in the space of the sheet, often defined only by a black outline.
It expresses basic feelings such as sadness, melancholy, euphoria, joie de vivre - also a floating between several worlds - a feeling of being alone and being together - and the human desire for closeness and love. It is an intuitive reflection of their being in this world and their identity. "How am I seen as a black female person in society, what is attributed to me and how can I define myself?"
It is a graphic search for the essences of life. Sometimes quite literally. She describes: "Smells trigger certain thoughts and feelings in me. I could watch a person I like for hours making his coffee. For me, tarte flambée becomes a metaphor for an encounter: 'I'm sore as tarte flambée. - I opened up to you, we ate tarte flambée together. And the smell will always remind me of how sweet you were at that moment.'" (Sonia Gansterer)
More information on Instagram of Sera Ahamefule
Born in the Waldviertel (Lower Austria), supposedly a bad child, but creatively "stubborn" with a lot of imagination – her outlet to get closer to herself and the world. Appreciate Jean Ziegler, Don Miguel Ruiz and all the other planet rescuers. She has been working as a freelancer in Vienna and Schiltern since 1983. Her works are representations of conceptual ideas. However, the artist does not renounce the art form of painting, object, photography and installation. Eva Eder N . is characterized by the intelligent and ironic handling of found objects and materials. She creates visual metaphors by leading the objects into other contexts. They are symbols of topics of existential importance that document our culture in its humanity and inhumanity.
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2024
Language is the starting point and material for the work of the visual artist Michael Endlicher. It determines his work ideationally as well as materially and trans-medially. In acrylic it appears as a quote from art reviews. As a set phrase for swearing an oath it is burnt on enamel plates. Antithetical four letter words are punched out of the canvas. Sheets of metal are embossed with word sequences put in relation to the numerical equivalents of letters. Nature photographs are printed on typographical carrier material, which is then turned into distorting objects by sawing it between text and image. In addition there are Endlicher’s first person-litanies in videos and performances, sprayed magical incantations and folded objects made from canvases covered in text.
Michael Endlicher tries to make out his individual perspectives within the complex relations between word and image, body, person and language, which he captures in a playfully reduced aesthetic. He is interested in the way contemporary art is assigned meaning from outside: what is being interpreted and brought about by formulating, why and by whom? What is attributed to the artist and what is demanded from him? Endlicher develops a form of poetic textual criticism; his multifaceted work oscillates between quick jokes and profound analysis.
More information on the homepage of Michael Endlicher
I will kill you, AT 2024 - 5:11 Min, engl. Fassung
Das Video basiert auf seiner Litanei #13.
Über das Töten, das erbarmungslose Morden. Das uns unmenschlich macht. Un-menschlich? Oder macht es uns erst zum Menschen, zum Un-Tier? Ich kann nichts verhindern – aber versuchen, den Schrecken zu bannen, wenn ich ihn ausspreche, zerrede. (Michael Endlicher) Dieses „schwarze“ Video ist der erste Teil eines Paares; die Arbeit an Teil 2, dem „weißen" Video zum Thema Rettung, Erlösung hat begonnen.
Aber Aber Aber, AT 2021 - 7:04 Min, dt. Fassung m. engl. Untertiteln
Das Video basiert auf seiner Litanei #12.
Endlichers neues Video Aber Aber Aber ist wie immer inhaltlich perfekt recherchiert, gesammelt und arrangiert. Es fühlt sich an wie eine Metaebene zur Medienkritik. Einerseits steht ihm das Wasser bis zum Kinn, andererseits gibt er uns eine Litanei, die wir gar nicht hören wollen, weil wir uns längst daran gewöhnt haben. Tatsächlich sind diese Abers total geläufig – durch die Litanei wird offensichtlich, wie überzeugend sie sind, durch die Wiederholung, aber auch durch den Umstand, dass man sich beim Betrachten und Hören des Videos an die Kontexte erinnert, in denen man die Sätze wieder und wieder gehört hat. Endlicher macht das Virtuelle an diesem „Wissen“ erkennbar. Es ist ja auch das Magische an Litaneien, dass sie sowohl affirmativ als auch aversiv gehört werden können. Jedenfalls zeigen sie auf, wie assoziativ wir funktionieren. (Wolfgang Giegler)
In her paintings, graphics and installations, it is thematically always the fragility of our existence, which is reflected, among other things, in nature, its becoming and passing away, which moves it, and the human being as part of it in his ambivalence between archaic sensuality and spiritual demarcation. For her, visual expression is "thinking life". Tender, melancholic, wild.
More information on Homepage of Sonia Gansterer
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In 2025, a book about the work of Stefan Gyurko will be published in the edition. The contributions in the Feigel Collection are hereby only used as teasers
"The work of the Carinthian is very versatile; Perhaps also because she gets bored quickly. In addition to the fabric objects and textile pictures, she paints again and again, creates filigree silhouettes made of paper and foil (...). For the artist, sewing remains a highly concentrated and meditative activity, a tactile-sensual experience that makes her happy." (Karla Starecek)
"I am a passionate art maker and material fetishist. In a positive sense, a craftswoman. Someone quickly has a good idea, but it is only through implementation that something becomes clear. I suffer when it remains just an idea. That's not enough for me. The haptics are the art of understanding. I also deal with the ornament, the open body and its organs. The inside of the body as a gender-free space." (Gudrun Kampl)
More information on Homepage of Gudrun Kampl
See also here Galery Steinek in Vienna Gudrun Kampl
See also here Galery Walker in Carinthia Gudrun Kampl in Galerie Walker
Jo (Joseph) Kühn was a master of expressive knife cutting. His focus is on the human being in all his tragedy. Debauched scenes – often with violence and sexual acts – show the compulsiveness of the characters without moralizing. Jo Kühn was an observer with a sharp knife blade and a sharp eye. His protagonists all seem to be staggering equally towards a final. Some as passengers, some as bellwethers. Loosely based on "Hell, That's Ourselves" T.S. Elliot. The end in hell, which is also often the scenic setting in his works, is certain for everyone and the same for everyone. The torments to be suffered there hardly differ from the world of the living. The suffering is just more persistent and the environment darker. Jo Kühn mastered life himself and in his work with a loving black humor. (Clemens Feigel)
More information visit wikipedia Jo KÜhn
1990 ErotiKreativ – Sexuality beyond the clichés: Walter Reichl and Hermes Phettberg propose to my partner Heike Keusch (formerly Hans Mariacher) and me as a project a disposition performance in permanence as their contribution to the exhibition at the Werkstätten- und Kulturhaus (WUK) in Vienna. Hermes Phettberg wants to spend two weeks - day and night - dressed only in an undershirt tied to a chain in the art space. Opening time, available to visitors blindfolded to reduce the inhibition threshold and spending exhibition time alone in the art space. Walter Reichl designs this room with photographs of scenes with Hermes Phettberg, which show him in various places tied up – patiently waiting for an interpersonal (sexual) interaction. In the room itself there are texts that describe the background of the "Project Manfred Strill" and why in the room a TV set plays the video of the sermon of Archbishop Hans Hermann Cardinal Groër on the occasion of the funeral of the last Empress of Austria (Zita) non-stop. Outside the room, an interview with Hermes Phettberg is taking place, in which he talks about himself. It soon becomes clear to an attentive observer that it is not the half-naked sadomasochist Hermes Phettberg that is the terrible thing, but that the funeral of the ex-empress in St. Stephen's Cathedral is an obscene staging of power. – Hermes Phettberg, as a former seminarian, already knew at that time that this God-fearing cardinal lived out his pedophile inclination on altar boys entrusted to him and abused his power to pacify his instincts. Other people close to the church also knew this, but it was not until five years later, in 1995, that Hans Hermann Groër had to resign as archbishop. A criminal case was never initiated against him. The Cross of Honour for Services to the Province of Lower Austria has not yet been revoked. (Clemens Feigel)
More information on wikipedia Hermes Phettberg
...There has already been a lot of space in Franz Seitl's work, but he considers his preoccupation with painting and ceramics to be rather dormant at the moment. The current main interest is in three-dimensional work with a variety of materials that create small sculptures in the additive process. Mixed media is what the sculptor summarises as the variety of building, adhesive and structural materials from which he makes his fragile-looking small sculptures... (see homepage Franz Seitl )
More information on Homepage of Franz Seitl
Kurt Straznicky has been working with the material synthetic resin for about 20 years. What is particularly fascinating is how he creates such real visual worlds that seem imaginary. It is as if the scenic representations, hermetically enclosed in the material, try to penetrate to the outside; as if they are trying to find a connection to the outer world through the transparency of the material. (Clemens Feigel)
More information on the Homepage of Kurt Straznicky
"... my long-term project 'Grasping the moment', aware that there is no duration to be attributed to this particular point on the timeline.
I am looking to expose transitions from figural movement to negative film, the before and the after on an image that can be understood as a 'missing link' between film, television and photography."
More information on Homepage of Christoff Wiesinger
Hans Woertl: An artist whom I have known since 1999 and whom I have come to appreciate more and more in his work from year to year! (Clemens Feigel)
More information on Homepage of Hans Woertl
