Archive

WIDERMAYER innen-drinnen draußen-außen

5/4/2017

Francisca Badum, Georgij Melnikov, Raffael Miribung, Ela Aloisia Sattler, Vera Sebert,

Der Inhalt nach außen gekehrt, die Umwelt nach innen gezogen, den eigenen Eindruck vom Ausdruck des Anderen extrovertiert wiedergegeben.

In einer Interaktiven Multimedialen Assemblage versetzen und vertauschen, 5 Kunstschaffende, Perspektiven und relativieren die Standpunkte, Dimensionalen Zugehörigkeiten, Raum und Zeitverständnisse der Betrachtenden.

WIDERMAYER steht WIDER dem Biedermayerlichen Verständnisses des Inneren oder/und Äußeren und ruft zum entarteten Dimensions Wechsel und frivolen Ebenen Tausch auf.

Find your Companion Cube, get transferred to a potato, be a bird!

Fairy Tales of the Wild East

4/6/2017

Vera Klimentyeva

Vera Klimentyeva (*1988 in Moscow, USSR) is a visual artist focused on topics of identity, overidentification, religion, social role models, deconstruction and transformation.

In her artworks she seeks explanations and answers to various
questions in regard of nowadays situation of different contents, which often deal with gender roles, such concepts as home, cultural heritage, unconditional love, stereotypical national features and symbolism.

In the exhibition "Fairy Tales of the Wild East" the artist is dissecting eastern ideolodical and mythological symbols of the middle- and late 20th century, creating from the outcome a modular system for future mythological ideologies.

Scorched Earth Happy Land

3/9/2017

Yulia Chuma Belova, Cybel Cox, Martin Grandits, Julia Hanzl, Unbekannter Künstler,
Georgij Melnikov, Benjaminn Nachtigal, Anna Steinhäusler, Susanna Strasser,

9 Artists give a look at the impressive variety of forms, colours and textures, possible in the medium of ceramics.

Exploring the realms, of burned earth eruptions and stone cold perfection. The act of playing with fire, the act of breathing life into stone.

There is great excitement when you put a piece of clay into the kiln. A space, peacefull at first, but determined, to become hellish, as hieronymus bosch would have drawn it, filled to the top with burning imortal creatures.

The destructive force of the fire, captures the fragile life formed into the soft clay. The fire hardens it and makes the temporary Ideas last, until they brake and go back to the earth where they came from. Eventually to get found and puzzeld together again, by some other future civilisations.

You never know what you can find when you dig into the earth and you never can tell for sure what result this play of elements known as burning will bring to you.

It all comes down to this one moment when you finally slowly open the doors to the chamber of surprise...

"Value" Art Vienna 2017

2/22/2017

by: Laurus Edelbacher, Vera Klimentyeva, Jamil Kuliev,
Genoveva Kriechbaum, Georgij Melnikov, Neda Nicolic,
Angelo Pierlo, Gert Resinger, Loro Verz, Anne Sophie Wass;

Aa Collections happily announces our participation at the Art Vienna

Vernissage 22.02.2017 at 6pm (only with invitation)
Exhibition 23.02. 11am - 9pm
24.02 - 26.02. 11am - 7pm

Leopold Museum
Museumsquartier Wien
Museumsplatz 1, A-1070 Wien

"Value"

11 Artists reflect up on the meaning and meta level´s of value. We will present work´s in the medium of painting, graphic, photography, sculpture, mixed and multimedia media. The colorful potpouri of emerging artists, international or local, are mirroring, the diversity of possibilities humans project, in their definitions of value. In all their diffrent aproaches, they are beeing unified by a need to create some kind of individuall value to exist for and interact with the values of the others.

http://www.artvienna.org/

Rigrivis launch in space

2/9/2017

Zarko Alexic, Laurus Edelbacher, Raffael Miribung, Stefanie Koscher, Bianka Oravecz,
Ela Sattler, Gert Resinger, Vera Sebert, Anna Watzinger, Ayşe Gül Yüceil,
curated by: Rina Grinn, Melnikov Georgij,

We start the year with the presentation of a special project called "rigrivis" The art project is situated in the virtual space better known as the internet, besides the curated show in our gallery we invite you to the launch of this work in progress experiment which focuses on the possibilites of trading and giving value to virtual cultural goods.

"rigrivis" stands for "rina grinn virtuall space" and is Initiated and curated by the artist and gallerist Rina Grinn.

Rina Grinn is leading since 7 years the Aa Collections gallery and initiated the Prjoect "rigrivis" in the beginning of 2016.
The technical side is developed by the digital multimedia Artist Laurus Edelbacher. As assisting curator the artist and curator Georgij Melnikov is also involved in the project

"5 Years Aa Collections"

12/14/2016

treasures of our collection curated by rina grinn

presenting works of:

Offerus Ablinger, Valentin Aigner, Manuel Asentic, Gabi Blum, Franz Braun, Mr. Chaos, Igor Chepikov, Adam Cohen, Royl Culbertson, Alessa Esteban, Manuel Gruber, Jasmin Hagendorfer, Club H.O.D., Leon Höllhumer, Oliver Hölzel, Dobroslav Houbenov, Stefanie Kaiser, Johanna Kandl, Johanna Kleedorfer, Vera Klimentyeva, Stefanie Koscher, Ksenia Kostritski, Aleksander Kosolapow, Genoveva Kriechbaum, Jamil Kuliew, Florian Lang, David Leitner, Hoa Luo, Georgij Melnikov, Lieber Michael, Bruce la Mongo, Neda Nikolic, Olga Pastekowa, Angelo Pierlo, Philip Render, Gert Resinger, Letizia Romanini, Ela Sattler, Elisa Schlifke, Mirijam Schweiger, Aures Sellaoui, Sophia Süßmilch, Peter Tauber, Claudia Ungersbäck, Loro Verz, Anne Sophie Wass, Corina C. Wrana, Ustina Yakovleva, Julia Zastava, Herwig Zens;

"Homunculus"

11/15/2016

by Zarko Aleksic

HOMUNCULUS
States of Mind

Inspired by philosophy of mind, for the last two years I have been intensively dealing with neuroscience, as well as the relation between neuroscience and art.

Homunculus. States of Mind is a long-term project, which has as its starting references the video-diary method of Mekas and the technique of stream of consciousness of Joyce.

Consciousness is the totality of experiences and mental processes that occur in the brain of an individual (feelings, perceptions, memories, beliefs, representations, associations, needs.) By definition, perception affects the consciousness and consciousness affects formation of memories. Perception is never passively receiving impulses from the outside world, but is an active construction of the world, a projection onto the "reality" situating received stimuli into a coherent world, related to our current mood and order of thoughts in which we have received the stimuli.

We find, or rather, assign the meaning, purpose and function to that and such stimuli. Although memories are never objective, they are crucially important for constituting identity.

Fragmentary and sequential approach that I have chosen for construction of the autobiographical self (introduced by Antonio Damasio in Self Comes to Mind) serves not only to emphasize the possibilities of different interpretations of individual fragments, which in a different context may have a different meaning, but as well its structural similarities with memories.

Every time we remember a specific experience, what we in fact remember is the memory of that experience, and not the experience itself, simultaneously "writing" that condition coloured by momentary mood into the same physical location in the brain. This type of recursiveness of the once constructed memories leads us even more towards subjectivism.

Since I moved to Vienna, I have been carrying a camera all the time in the pocket. In a very specific way, in the form of video material, I was documenting the state of my own mind, sometimes inspired by the content that comes from the outside, sometimes boosted by the thought process that comes from within. The content of the video-records, in the length of 4- 30 seconds, varies from trivial comments on which I was "provoked" by something from the outer world, through poetic counterpoints, feelings, philosophical and political observations running through my mind, to the ideas for art works. An interesting aspect of the archive itself is that it is not fixed, but is increasing daily, containing at the moment over 3,000 audio-video sequences.

Making use of different algorithms for the presentation of archive material, in order to represent consciousness, is inspired by the current developments in the field of artificial intelligence and computational theory of mind, putting neural network/phenomenon and binary codes/constructed sounds and pictures in relation.

With the exhibition setting I am insisting on different modalities of representation, physicality of memories that are stored in the brain and/or in the near future, on the hard disk, as well as their interconnection and interdependence.

Sequential and fragmentary approach to documenting personal thoughts and states of mind allows me to deconstruct a personal diary and create new narratives, both for the viewer and myself, as since it is confessional and frank, the said is never objective.

This work invites the viewer to participate in the work, so that he/she could actively establish own narration on the given fragment in form of one's own collage of consciousness.

Because of the imprecision and ways of reading the archive, both the viewer and myself are enabled to reread the new and unexpected narratives.

Text by Zarko Aleksic

"GLORIFY MOTHERLAND"

10/25/2016

by Genoveva Kriechbaum

"GLORIFY MOTHERLAND"

Steht am Ende doch eine starke Mutter hinter einem jungen Vaterland? Als Miniserie (2009–2011) gibt Glorify Motherland Einblick in die vom schwarzen Gold angetriebenen Gründungsjahre der Vereinigten Arabischen Emirate. Mit nahezu außerirdischem Bestreben wird das weite Land erweitert, werden Städte gebaut und künstliche Inseln angelegt, wird der karge Wüstenboden angebohrt, aufgeschürft und bearbeitet. Monumentale Bauten werden in kürzester Zeit in den Sand gesetzt. Eine ikonische, neue Welt wird vom Menschen geschaffen.

Die Bildsemantik suggeriert ein „Oben/Unten“ und den Horizont dazwischen. „Potential und Glaube“ stehen einander theatralisch gegenüber. Von unten betrachtet, ist es ein „Looking for the Clouds“, ein „Strecken nach Höherem“. Nach Superlativen. Die Frage nach „Identität“ wurde mit dem ersten Tropfen Öl (1951) heraufbeschworen. Heute steckt sie in allem. Im „Image Establishment“, einem vieler Schilder, die – zum besseren Verständnis samt chinesischen Übersetzungen – die arabische Wüste zieren; in Glorify Motherland löst es sich auf.

Sie steckt auch im fremdgesteuerten Arbeiter, der aus dem dunklen Öltank nach oben ins grelle Licht flüchtet. Das Licht auf dem Dach des Tanks ist so hart, dass es nicht einmal Schlagschatten wirft. Die Frage nach „Identität“ ist unbeugsam. Im Konsum- ebenso wie im religiösem Tempel, die weltweit ihresgleichen suchen.

Eine Ausstellung im Rahmen von Eyes On Monat der Fotografie Wien 2016

"zum industriellen Weg"

10/12/2016

by Ricardo Gabriel, Dobroslav Houbenov, Peter Tauber, Claudia Ungersbäck, Rica Fuentes Martinez, Lieber Michael; (curated by Dobroslav Houbenov)

Where does the industrial way lead to and how does it sound like?
An artisitic view through the past on a rusty version of the future.

“Let us hush this cry of 'Forward', till ten thousand years have gone.”
Alfred Tennyson, Loksley Hall, Day Dream and Other Poems

"Low Point Drain"

9/28/2016

by Florian Lang

The exhibition "Low Point Drain" shows works from the series "en masse" and "colages"

En Masse

For the series “En Masse” the artist cuts print media of any kind into stripes and then square confetti, which he scatters over canvases. The randomness of the gesture is framed by strict constructions and seemingly architectural forms.
Starting point for the abstract collages is imagery of huge crowds of people, that Lang uses to confront infinity. In an illusory way mass media is transformed into the depiction of crowds of people.

Für die Bilderserie “En Masse” zerschneidet der Künstler Printmedien jeglicher Art zuerst in Streifen, dann in rechteckiges Konfetti, um dieses anschließend auf Leinwände zu streuen. Die Zufälligkeit der Geste wird durch streng konstruierte und architektonisch anmutende Formen gerahmt.
Ausgangspunkt der abstrakten Collagen sind Bilder von großen Menschenansammlungen, anhand derer sich Lang dem Begriff der Unendlichkeit stellt. Auf illusorische Weise werden Massenmedien in Darstellungen von Menschenmassen transformiert.

Text: Bernadette Anzengruber
Collage
Inhaltlich beschäftigt sich Florian Lang mit dem Menschen, seinen von ihm erschaffenen künstlichen Welten, seinem Inszenierungs- und Selbstinszenierungsdrang, dem Konsumverhalten, seinem Auftreten in Massen und seiner aus all diesen Faktoren resultierenden Realitätskonstruktion
Seit Sommer 2008 hat sich sein Hauptaugenmerk von der Malerei stetig zur Collage hinentwickelt. Motive aus der Konsumwelt wurden früher malerisch in einem Bild zusammengeführt und werden nun mit einer Schere oder einer Klinge unmittelbar seiner ursprünglichen Aufgabe entrissen, um in seiner Arbeit eine neue Funktion zu erhalten.
Der Künstler liebt das Spiel Sein versus Schein und baut eine auf den ersten Blick realistisch wirkende Welt, deren konstruierte Künstlichkeit oft erst im Detail erkannt werden kann. Der irritative Moment spielt eine wesentliche Rolle. So wie unser Bewusstsein andauernd Eindrücke verknüpft, die physikalisch niemals miteinander koexistieren können, verbindet Florian Lang Dinge, die nicht zusammenpassen und ergeben trotzdem ein glaubwürdiges Bild.

Text: Wolfgang Zahnt

www.florianlang.com
www.aacollections.net