October 9, 2013 Vienna Fair 2013
10th – 13th of October 2013
This is an exhibition of art for art. The variety in medium encourages remembrance that whichever format it begins, it always ends with the visual.
Bernhard Buhmann (b. 1979, Austria)
Buhmann’s “Catwalk” and “Tide”makes paintings as though you walk into a dream, Gulliver-and-Lilliputian style. The miniature machines and figures are busily painted and busily active within their imagined world; blink once and you miss one element, but discover another. This is exacerbated in “Demons”, an exuberant, palpable celebration of colour and form. The playfulness is apparent in his use of youthful hues, imagery, and effervescent brushstrokes, but is juxtaposed against rich backgrounds in somber purples, reds, blues in spatially dense compositions giving the surrealistic works a mood of night-time reverie.
Ghazel (b. 1966, Iran)
Ghazel’s inky printed maps appear as though a dark wave as dense as oil has come to suffocate the delicately crinkled surfaces– and thus are aptly named, “Maree Noir”. With simple materials and a simpler technique (ink, filling in), she makes a strong visual statement that extends past the maps standard sizing and fragile composition. The heaviness of her execution mirrors the heaviness of her thematic: global displacement.
Sara Rahbar (b. 1976, Iran)
The tone of Rahbar’s assemblages are hard to miss– works that hang idly on the wall jut out and cut into your space with their components: carefully collected conflict souvenirs like stars, stained tarps, gas masks, shackles… it feels tortured, and it is tortured. The contradictory clean, organized presentation of materials with messy histories denotes “In God We Trust” with a scientific-like memoriam, a statement of fact, a retrospectively captured moment of pain and suffering.
Anahita Razmi (b. 1981, Germany)
“Replays/Replace” is Austrian television presenters reciting, on air, Fontana’s 1952 artist manifesto, declaring television as a tool for renewing art. With no recordings of the original live reading, viewers and readers alike experience the mise-en-scene moment to moment, creating an unsureness of what will be said, how it will be delivered, and how it will be received. The tension of contemporary, popular figures with their distinct presentation styles is exploited with cheek as they continue their habit of speaking words that aren’t their own, but in a voice that is even more unfamiliar.