weekend im office

28.06. - 07.09.19


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Weekend im Office              

Weekend im Atelier.

Urlaub von der eigenen Malerei.

Urlaub von Studien anderer Malerei.

Arbeit am Wochenende, Wochenende in der Arbeit.


In den beiden letzten Ausstellungen bei Gabriele Senn beschäftigte ich mich vorwiegend mit anderen Künstlern (Picabia, Chwistek, Kandinsky). Jene Auseinandersetzung wurde als Urlaub/Weekend genutzt. Dieser Urlaub half mir eine gewisse Distanz zu gewinnen und über die Angst, sich selbst zu kopieren, eine Karikatur seiner selbst zu werden, hinwegzusehen.


Auf der Suche nach einer Lösung bezüglich der eigenen Wiederholung ergab sich mir ein neuer Weg durch die Zusammenarbeit mit Backhausen. Dort wurden Stoffe gewebt, die eine klare Wiedererkennbarkeit zeigen, jedoch kein Produkt der malerischen Wiederholung sind, sondern lediglich das eigene Monogramm rekapitulieren. Dadurch wird die Leinwand, der Untergrund, das Material zu seinem eigenen Markenzeichen. Die Stoffe an sich sind Readymade und gleichzeitig Rohmaterial, das in jegliche Richtungen ausgeweitet werden kann.


Die Porträts hingegen zwingen mich dazu, mich an gewisse Regeln der Malerei zu halten. Dadurch wird die Arbeit bis zu einem bestimmten Grad in Ihrer Qualität für mich überprüfbar.


In der jetzigen Show wird dieser Urlaub verlängert und ausgeweitet, indem ich mich wieder mehr meiner eigenen Arbeit widme und Bilder zeige, an denen ich die letzten zwei Jahre gemalt habe.


- Hansi Fuchs




weekends in the office.              

weekends in the studio.

taking a holiday from the own art.

taking a holiday from studying other artists.

working at weekends, weekends at work.


In recent exhibitions at Gabriele Senn Galerie I have primarily been involved with studying other artists such as Picabia, Chwistek and Kandinsky. Those interactions were used as a holiday / weekend that helped me to gain a certain detachment and to overcome the fear of copying oneself, becoming a caricature of oneself.


The collaboration with Backhausen, a traditional weaving company, is the result of seeking a solution with relation to the repetitive character of the own work. Their fabrics are highly recognizable, yet no product of a repetition, but solely a recapitulation of the own monogram. Therefore, the canvas, the surface, the material becomes its own trademark. The fabrics are simultaneously readymade and raw material that can be expanded towards any direction.


The portraits, on the other hand, force me to follow specific norms of painting. In this way the quality of my work becomes verifiable to a certain extent.


In the current exhibition I prolong and expand this vacation by devoting myself to my own work once more and by showing paintings that I have worked on in the past two years.


- Hansi Fuchs


curated by_Goschka Gawlik

curated by_Goschka Gawlik & Arkadiusz Półtorak

While I Kiss The Sky

Nikolaus Gansterer | Natalia LL | Laszlo Moholy-Nagy | Katja Novitskova | Otto Piene | Sung Tieu & Debora Delmar | Guan Xiao


Opening: 12.09.2019, 6 pm

13.09. - 19.10.2019


When Jimi Hendrix released Purple Haze in 1967, he did not intend to issue a pop-environmentalist manifesto – yet this was precisely how the song was read by the Hungarian-American artist György Kepes. In the 1969 essay Art and Ecological Consciousness, the director of MIT’s Center for Advanced Visual Studies interpreted the refrain of Hendrix’s hit record – “Excuse me while I kiss the sky” – as an expression of “hopes of the richer, expanded world” and anger at humankind’s “short-sighted selfishness”. Testifying to the first cosmic journeys, advance of first network media and birth of planetary capitalism, Kepes insisted that the closed circuits of information flows and economic exchange on the Earth must be re-imagined as if experienced from the outside. It was artists like Jimi Hendrix that Kepes saw fit for the task of dissociating the modern human’s self-centered perception of the world – trying to see it from within and beyond at once; staying engaged in the human affairs while acknowledging the existence of the temporalities, spaces and agencies that surpass the “here and now” of modernity.


Nowadays, dissociative conceptualizations of subjectivity pervade the expanded field of visual arts. In a 2013 exhibition at Haus der Kulturen der Welt, The Whole Earth, curators Anselm Franke and Diedrich Diederichsen compiled a survey of works that discuss the experience of global, technologically facilitated connectivity as immersive and abstract at once, simultaneously “engaging” and dissociated. This year, the curators of Sharjah Biennial hit a similar note. They discussed the contemporary media ecology as “a space wherein sound hits and reverberates, where memory and imagination echo across surface”, and encouraged the biennial’s visitors to look beyond this opaque “echo chamber”. In works of many contemporary artists, the impending ecological catastrophe and globally relevant social issues are framed within a posthuman, planetary perspective.


The exhibition While I Kiss the Sky traces the dissociative aesthetics’ development throughout the last century. Viewed chronologically, the survey begins with experimental photographs by Laszlo Moholy-Nagy, a mentor and close friend of György Kepes. Taken in 1940s, his shots testify to the drastic changes that human experience underwent at the threshold of the electrified, techno-scientific world. A 1968 video by Otto Piene (Electronic Light Ballet), another collaborator of Kepes, and a 1980 film by Natalia LL (Points of Support) provide two competing perspectives on posthuman, planetary vision; while the former is heavily mediated by techno-scientific developments, the latter is more spiritual and harks back to the ancient science of astrology. In works of a new generation of artists the scientific and the spiritual tend to intersect – thereby inspiring an eclectic, holistic outlook on the planet-wide modernization.


- Goschka Gawlik, Arkadiusz Półtorak


curated by