Axel Huber

26.11. - 17.12.2016



BMPT 

 

Finissage am Sa 17.12.2016        19:00

afterparty at boozeclub 21:00

Öffnungszeiten:
Während der laufenden Ausstellung!
Sa 15 bis 21 Uhr 
und nach tel. Vereinbarung!

Kontakt: 
Marxergasse 16
A-1030 Wien
0043680 21 63 551
email: offspace@chello.at

 Mit der freundlichen Unterstützung von:














 Michael Weidhofer
 17.09. - 08.10.2016

 OFF THE SHELF 







 
 




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Other spaces. Michael Weidhofer’s objects and their reference potential

The artistic practice of Michael Weidhofer, who was born in Vienna in 1981, where he still lives and works, can be roughly divided into three categories: (post-) conceptualism, working with space(s), and an object discourse. In his exhibition “Off the Shelf” at the alternative space Fox in Vienna, the artist will mainly present objects. The following text is about these objects and the relation to the rooms / spaces they refer to. It should be pointed out that the (post-)conceptual field in Weidhofer’s work ranges between two poles: There are works for which conceptualism is only one aspect of the work, and others which are more strictly speaking post-conceptual and that focus on working out and operating with concepts. For instance, there’s a parcel in the exhibition that the artist received from his uncle for his first birthday in 1982. It is closed with nine seals and remains unopened to this day. This is always the artist’s most recent work – not because he does something with it, but precisely because he does nothing, leaving the parcel unopened and its contents obscured.
The objects on show at Fox can be summarised under the term of the functional, where functionality varies in terms of structure and quality from object to another. To different degrees, both a sphere made of vacuum formed packaging that is suspended from the ceiling and an object on the floor made of stretcher frames, which are stuck together and painted with oil paint are reminiscent of modernist lamps. Furthermore, the sphere refers to the piece “Medusa’s Head”, and is also faintly evocative of the “Five Moonettes” of US-American artist Chris Burden, who died in 2015 and for numerous reasons is a significant reference for Weidhofer. Besides a fundamentally conceptual approach, both art works are linked, for instance, by a strong interest in practical issues of manufacturing coupled with outstanding technical skills and in steadily opening institutional spaces up to private and public ones. For example the artist cut out his self-portrait in halftone stencil-style  from the bottom of a white plastic bucket and used this stencil in public space later. The bucket no longer functioned as container for fluids and paint, while at the same time it gained an artistic function.
Beside these three works, Weidhofer has built and installed a wooden shelf in the space in which by means of selected, designed objects he virtually presents a small retrospective of his artistic practice. This small-scale retrospective is reminiscent, not coincidentally, of Marcel Duchamp’s portable exhibition piece “Boîte-en-valise” [box in a suitcase]. But furthermore, it refers also to the storage as organisational and institutional necessity, whereby Weidhofer does not distinguish between storing works which have been rejected by the art scene and storing, free of reserve, ennobled objects in a museum context. The presentation of tools and material residues in the shelf in turn refers to another space, which in the case of Weidhofer’s working space is not the outpost of a white cube gallery but is reminiscent of the workshop of a small business where (purely) functional objects are frequently carried out as commissioned work. The fact that the shelf will be used again in the artist’s workshop, demonstrates - as well as the two distorted shelves on show -  the shelves’ hybrid nature between object, display and pure functionality. 
Other objects in the shelf are references to some of the artist’s past projects and the spaces these are linked with. For a project on the grounds of Vienna’s Arsenal, he scanned this and adjacent areas and with the bits and pieces of blue plastics he had found there he copied the mating places (“bowers”) of bowerbirds, which are characteristically often decorated with monochrome litter. The plastic litter is presented in a glass placed in the shelf. From the artist’s flat a toilet window’s casement, which Weidhofer has restored, is exhibited. The majority of objects, however, refer to the premises of the art space mo.ë that is located in a former factory for metal goods in Vienna’s seventeenth district. In 2015, the artist dedicated the large-scale, on site exhibition project “frank” to these premises and their history. A paper model of the building, a chunk of wax from the company’s goldsmiths and a bottle of water from a well in mo.ë’s yard reflect Weidenhofer’s distinct context awareness. He furthermore produced a 85 metre long frottage of the way leading from an apartment in the building to his workshop, which at Fox will be presented in its shipping crate. Finally, his exhibition “Ways in – Ways out”, which allowed visitors to enter and exit mo.ë only through a basement window, is represented in a preview photo.

Weidhofer’s objects not only refer to spaces and projects or, as ready-mades, to the beginnings of real object art and neo-avant-garde appropriations of this concept, however; they also carry great socio-political reference potential. The sphere made of used plastic wrappings refers to the issue of plastic residue and can be considered as an artistic form of recycling. Weidhofer has a strong ecological awareness that is not expressed in actionism or rhetoric, and which can be traced not only this creative gesture but has direct impact on his own lifestyle. Other references relate to the vast and controversially discussed field of social media and their socio-political implications. His stencil self-portrait in a bucket can be regarded as commentary on a present rampant “selfie-mania”. The working warning light that Weidhofer consciously made without a manual as a kind of anti-post-Internet piece refers to the increasingly prevalent alarmist attitude in the media discourse. The object made out of stretcher frames that decrease in size is something of a formal equivalent of the echo chambers and feedback loops of social media, which increasingly present their users only their own preferences (“likes”), concepts and prejudices and set the restriction of one’s own perspective against the initial hopes for an opening up towards the other thanks to social media. These analogies are not imposed on Weidhofer’s work from outside, but indeed correspond with the artist’s intentions.

Christoph Bruckner

Translation: Jeanette Pacher

Fotos: Stefan Lux









 

 


Öffnungszeiten:
Während der laufenden Ausstellung!

Sa 15 bis 21 Uhr 
und nach tel. Vereinbarung!

Kontakt: 
Marxergasse 16
A-1030 Wien
0043680 21 63 551
email: offspace@chello.at

 


 Mit der freundlichen Unterstützung von:





Claudia Märzendorfer
20.05. - 11.06.2016
 
#Reisegruppe schöner Männer



What do you do, stranded in the midst of nowhere? In the midst of anywhere.
Standing next to seven US-paletts, Wotruba is thinking aloud. He makes a sketch with motor oil. At least there’s enough paper, and the petrol station even has a photocopier. Those from the beginnings are still the best! His plan is bold: Thirty of the records put on ice, among them hits like Rasberry Fields Forever and Wotrubas Erben, will be melted and formed anew. Sure: All water under the bridge. Still: Should the plan work,  one could make progress with the new, improvised screen. It‘s a run against time. Somehow, everything is connected and interdependent …
Reisegruppe schöner Männer [Travel Group of Handsome Men] is an experimental set-up – or gesture – in which, just like a composition, Claudia Märzendorfer playfully combines elements that could be the main components of larger groups of works:


Wotruba‘s Agave (Thanks, Werner!)


Windscreen, 2016


Sketches of a Windscreen on Two US-paletts, 2016


Copy of a Copier That Copied Itself, 1991 


One may best describe Claudia Märzendorfer‘s artistic practice as an attempt to portray a moment that seems to be out of control, at once impossible and somehow „wrong“. Rather than making works for eternity (and products for the art market), the artist is interested in the processual, the transformation, as well as in a work‘s complete dissolution or disappearance. Thus, „time“ is a subject in all her works, both in ephemeral sculptural installations and in objects, which were produced with a monumental amount of time. For the artist, time is the „only neutral currency“ – an entity that, regardless of background and social status is and remains the exact same measure.
Since the end of the 1990s, Märzendorfer has been developing and working with a technique and material that  meets her interest in the volatile and uncontrollable: she produces objects with frozen water (sometimes also frozen ink) – ephemeral, unstable sculptures, whose disintegration begins at the moment of their presentation. These generate unique, magic situations that, like musical live performances always bear an instant of surprise. To go against the grain, take a point of view that is free from being functional or useful is a motor for the artist‘s creativity. Besides the already mentioned ice casts – of, a.o. drying, or rather: dripping laundry (Kaltwäsche, 1997 ff.), records made of ice (Frozen Records, since 2005) or a prototype assembly kit (Als er das Messer in die Sonne warf, 2009) – her oeuvre also includes works that explore spaces by means of photography and drawing. For instance, works from recent years like the wall drawing Wandabwicklung (2014) that spans over 200 m in the BIG headquarters in Vienna, or Entered from the elevator, everything is located on the ground floor (2015). For this, the artist made photographic copies of the working and studio spaces of a complete floor of the University of Applied Arts in Vienna and presented the photos in a poster-size pad: a concentration, or even collapse, of space and time.
Then again, to make the objects from the group of works Ersatzteile [spare parts], it took an absurd amount of time and effort: over the course of eight years, the manufactured truck tyres, engine block and various other parts of a lorry slowly took shape stitch by stitch. The engine block‘s organic tangle of knitted cords, tubes and chambers is reminiscent of viscera that have developed an independent existence. „In principle, my vision is that of an deviation or shift from the „standard situation“: to create a world next or parallel to the world because in most cases I find social guidelines and conventions too restrictive. I‘m often surprised about conformism and believe this is one of our society‘s fundamental problems. I often miss people‘s courage to change or improve situations or the general framework independently.“
(CM in an interview on sustainability, 2014)






Text: Rsbrry Club




Öffnungszeiten:
Während der laufenden Ausstellung!

Sa 15 bis 21 Uhr 
und nach tel. Vereinbarung!

Kontakt: 
Marxergasse 16
A-1030 Wien
0043680 21 63 551
email: offspace@chello.at

 


 Mit der freundlichen Unterstützung von:














































Lone Haugaard Madsen
05.02. bis 27.02. 2016

Raum#331 - Fakt


Lone Haugaard Madsen’s artistic practice has changed since 2006 – from the analysis of art institutions based on artistic research to the production of seemingly abstract sculptures, paintings, and objects; works that were almost exclusively produced in the studio, which nevertheless do not lack Haugaard Madsen’s critical access.
While priorly art’s reception had been in the foreground, the conditions of artistic production are focused on now. No longer bound to art institutions as the field of interest, the studio with its spatial, historic, and social dimensions has become the subject of Haugaard Madsen’s work. Just like her „Museumsbänke“ [Museum benches] reflected institutional imperatives, current works contain the specific necesseties of spaces of production. She has since produced a large number of works, which implicitly reflect on the conditions of artistic work.
Many of the materials used by Madsen are other artists’ production residues. Friends and colleagues with whom she has shared her studio provide her with remnants, leftovers, and design materials from their own studio practice. Other works indexically refer to the studio: casts of some corners of her studio, for instance, or graphic works in which she has reproduced her studio’s wall structure with simple printing techniques; sculptures of dimensions so they only just fit through the studio’s door, or amorphous objects made of carpets, which had previously cladded the studio’s walls – all refer to the spatial dimentions of her working space. By leaving many of these objects, sculptures, and paintings seemingly unfinished, and only subtly modifying found forms, she underlines the artistic decision-making process.
Recently, Lone Haugaard Madsen has frequently also expanded her studio into the institutions in which she has exhibited. In order to shape her work on site, she has sent unfinished pieces from her studio to galleries and art societies (Kunstvereine) and has used remains of prior exhibitions and materials found in the depot or workshop of the respective institution. Occasionally, she has painted over the posters and invitation cards for previous exhibitions or she has used partition walls, turned horizontically, as large pedestal displays (which, btw, can never really be regarded seperately from her actual works). Her materials are thus informed with narratives of production, which in turn could be understood as an aesthetics of working conditions. But like the afore mentioned ‚benches’, which despite their reduced form imply an ambivalence in terms of reference and practice, Haugaard Madsen’s production narrative is not a cohesive, coherent narration. This incoherence is possibly best described as an essayistic practice: a diverse collection of terms and relations, which can not be reduced to a clear content. These works avoid illustrating semantic clarity, for they do not claim objectivity for themselves. With their subtle irony and abundance of ephemeral allusions and associations, they are far from offering solutions. It is this (partly) paradoxical narration that suggests essayistic concepts of authorship; concepts that imply idiosyncratic decisions, subjectivity and taste, while at the same time the conditions form their perspective. Therein lies the ambiguous character of Lone Haugaard Madsen’s most recent artistic production.

J. Bigelow


                                                                                                                                                              

Öffnungszeiten:
Während der laufenden Ausstellung!
Sa 15 bis 21 Uhr
und nach tel. Vereinbarung! 


Kontakt: 
Marxergasse 16
A-1030 Wien
0043680 21 63 551
email: offspace@chello.at

Mit der freundlichen Unterstützung von:



Ausstellungsansichten:
Photo: Till Megerle