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18/1/2012

Not Just an Image, but a Whole World

Kunstraum Niederoesterreich, Wien

Artists: Bella Angora, Iris Christine Aue, Sophie Dvořák, elffriede, Nikolaus Gansterer, Jochen Höller, Andrea Lüth, Nils Olger, Davide Savorani, Edda Strobl

Curator: Julia Kläring

“Not Just an Image, but a Whole World” is the title of the first exhibition in the Lower Austria Kunstraum in 2012. The show, curated by Julia Kläring, is dedicated to the medium of drawing as an often multi-layered form of narration and attempts to explore the boundaries with other artistic genres. The inspiration for the title is provided by the comic Die Zeichnung [The Drawing] by Marc-Antoine Mathieu, in dealing with an initially unassuming, small- format drawing, opens up a separate, complex world. In the context of the exhibition, this comic as it were forms the starting point of the narrative thread, a link from drawing to other media and forms of art, such as performance, film, animation. In the use of the medium of drawing, the ten invited artists venture into pictorial representations, figuration and narration, with the drawings themselves becoming the means of communication.

The Viennese artist elffriede vividly shows the changeability of the medium in her elffriede.sounddrawings, for which she has her drawings set to music by other artists and then animates the drawings to the sound. Elffriede works at the intersections of different media, and makes her working processes visible. Thus in the framework of the exhibition opening she collects words and comments from the visitors and translates these linguistic ideas into drawings, which, embedded in the exhibition context by her, can open up new meanings. The often serial drawings of the Italian artist Davide Savorani take up myths and archetypes that repeatedly appear in his performative rituals. But Savorani also concerns himself with possible intersections of drawing and performance and the integration of multiple levels of time in the image.
In the context of the opening, a group of artists record the action they see on paper so as, in a second step, to add the visitors’ process of perception after they arrive in this action. Two incompatible levels of time are now linked with one another on paper. In his series of works Am Zug/Training, Nikolaus Gansterer addresses another way of portraying time and movement in graphic art, by making drawings of the details he can see from a travelling train. The claim to record reality here contrasts with the incompleteness and fragmentariness of the drawings.
With her floral drawing objects, Iris Christine Aue crosses the boundaries of the two- dimensional sheet of paper into three-dimensional space. Under the title Wachsender Widerstand [Growing Resistance], in the exhibition room she plants selected wild plants such as dandelion or common plantain in herbaria that she bases on the model of the researcher Alexander von Humboldt.

The works of Sophie Dvořák and Nils Olger are concerned with the possibilities of the reconstruction of reality. In Die sind nicht gerade [They are not straight], Olger translates the newly acquired tactile forms of perception of his grandfather, who has lost his sight, and then relates them to photographs of discussion situations with Olaf Jürgenssen and his hands marked by the years. Dvořák draws recurring motifs from daily newspapers, isolates them from their context, and mounts them on notice boards with titles such as I: Agree / II: Demonstrate / III: Arrest. New possibilities of thinking and the questioning of mass-media image production thereby open up to the observers. Jochen Höller, too, works with existing text and image elements, which he takes out of their context and combines in new arrangements. For the collage (Geräuschkulisse) Superman – Chaos im Weltall I [(Sound Scenery) Superman – Chaos in Space I], for example, he cuts the sound words out of the comics and arranges them, detached from the narrative, in a new image composition. Andrea Lüth isolates individual elements from pictures, situations or texts and sets herself the challenge of graphically reducing them as far as possible to the essential.

According to the requirement, the individual, partly alienated elements allow themselves to be combined with each other but also with other media such as painting and animation to create new meaning complexes.
Only on closer observation can a moment of change be discerned in Bella Angora’s drawings, of her figures’ process of disintegration into the smallest individual components. In view of the often tiresome competition in the art world, these figures seem to lose their form. But in her installation STRICH/CODE UND PERFORMANCE/POP, Bella Angora also blurs the boundaries in her drawings between pop songs and material from earlier performances.
Edda Strobl’s drawings often develop out of interactions with band or performance projects or in the context of the Tonto comics collective. In the exhibition Strobl shows a selection of drawings and other materials which as it were come from snapshots from the working process for the cartoon film Geisterkrieger [Demonic Warriors]. Thus the visitors can accompany the emergence of a parallel world that opens up a view into our uncertain, mysterious future.

Like Émile’s drawing, which changes every time it is looked at, each of the works shown here also contains a possible change, a moment of transformation, a thinkable rethinking.

Image: Projections on Be INK

Press contact: Katrin Draxl, +43 664 60 499 196 katrin.draxl@kunstraum.net

Press tour: 19 Jan. 2012, 17.00
Opening: 19 Jan. 2012, 19.00

Kunstraum
Niederösterreichische Museum Betriebsges. m.b.H.
Kunstraum Noe
Herrengasse 13 A-1014 Wien
Opening hours: Tuesday–Friday, 11.00–19.00 and Saturday 11.00–15.00.
Admission free

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