The exhibition shows various characteristic forms of contemporary minimal art through five international artists within four generations. The title refers to the exhibition 'Primary Structures', which took place in 1966 at the Jewish Museum in New York.
The exhibition’s title SECONDARY STRUCTURES refers to the exhibition “Primary Structures”, which took place in 1966 at the Jewish Museum in New York and can be seen as the birth of Minimal Art. SECONDARY STRUCTURES shows various characteristic forms of contemporary minimal art through five international artists within four generations.
FRANÇOIS MORELLET (1926 Cholet) is one of the main representatives of Constructivism and Concrete Art in the second half of the 21st century. His expansive light installation “Triple Neonly Rouge”, 2012, 323 330 238 cms, consists of six 450 cms red neon tubes which were installed as three x-shaped light scuptures. Two of these are mounted on the wall and one extends into space across the corners, misleading the viewer in its own way.
OLIVIER MOSSET (1944 Bern) is represented by three recent monochromatic acrylic paintings of his most significant “Shaped Canvas” series: a bright red circle, a strong blue square and a soft green triangle with the titles “I”, “O”, “U”, referring to the famous poem by Arthur Rimbaud, “Voyelles” (Vocals). The poet describes the synaesthesia of sound and colour, OLIVIER MOSSET adds geometrical shape.
The Œuvre of LIAM GILLICK (1964 Aylesbury) provokes fundamental questions concerning art in the time of capitalist social and value systems. Serial and formal strength is paradigmatic for his work and is manifested in the wall sculpture “Lead Time”: twenty pink elements each 200 cms high, from lacquered aluminum, are set vertically, side-by-side as a wall structure. The structure pays homage to Carl Andre and Donald Judd, the pioneers of Minimal Art.
KATJA STRUNZ (1970 Ottweiler) refers to the formal language of the Constructivism/Suprematism and conceptually connects the sociocritical theory by French philosopher Paul Virilio and his term “Telluric Contraction”. In her latest works, exclusively produced for this exhibition, KATJA STRUNZ overlaps various monochrome lacquered, aluminum- edged surfaces to circular, folded wall sculptures. They stand for the ongoing, as well as the interruption of rotation.
The complex Œuvre of FLORIAN MAIER-AICHEN (1973 Stuttgart) appears as an opposite standpoint to the objective- distanced iconography of Minimal Art: the photographer refers in his work to classic landscape painting as well as various characteristic forms of the American entertainment culture.
The spacious coastal landscape “Infrared Industries”, 2011 shows a bird’s eye perspective of the seashore in South Malibu. FLORIAN MAIER-AICHEN mischievously uses an infrared film for the 182 225 cms C-Print: through this unusual technique the artist transforms a photograph of his adopted home in California into an illusionistic landscape tableau via his characteristic range of colour.
Galerie Nikolaus Ruzicska
Faistauergasse 12 A 5020 Salzburg
Tuesday – Friday 10 am – 6 pm
Saturday 10 am – 2 pm