Kandlhofer Gallery Magazine | Winter - Spring 2023

MAXIMILIAN PRÜFER, Honey-Pictures, Credits to Studio Maximilian Prüfer

HIGHLIGHT

ART BRUSSELS 2023

Acaye Kerunen & Sofia Borges

STEIN 158132 [MEDIAZÄN I-III]

Essay by Markus Redl

WELTMUSEUM WIEN

Maximilian Prüfer Solo Exhibition

GALLERY REPRESENTATION

Xie Lei | Galerie Kandlhofer

EXHIBITION

JANUARY 18TH – FEBRUARY 18TH / WELTGEIST

FEBRUARY 23RD – MARCH 25TH / FRAUKE DANNERT

MARCH 29TH – MAY 5TH / ALICIA VIEBROCK

MARCH 29TH – MAY 5TH / MARC HENRY

MAY 11TH – JUNE 5TH / MAXIMILIAN PRÜFER

FOCUS ON

FEBRURARY 23RD – MARCH 25TH / FREDY SOLAN

MARCH 29TH – MAY 5TH / DAVIDE BERNARDIS

MAY 11TH – JUNE 17TH / IRENA POSNER

ACAYE KERUNEN & SOFIA BORGES

Art Brussels 2023

For the participation at Art Brussels 2023 we are happy to present an international, female duo booth, introducing works by the African artist Acaye Kerunen as well as the Brazilian artist Sofia Borges.

Acaye Kerunen is a multidisciplinary performance and installation artist, storyteller, writer, actress and activist based in Kampala, Uganda. Her installation and multimedia works speak of a strong conviction in Ugandan women’s empowerment through the indexical collaborative work made with local craftswomen, which are orchestrated by Kerunen into installations that question the scaffolding of fine art versus craft as predicated by western art traditions. In addition, her works are the result of performance, collaboration, social work, environmental consciousness and addressing authentic creation as lived experience.

ACAYE KERUNEN

Kakare, 2021, Mixed media, 370 cm H x 860 cm W x 50 cm D

(145 5/8“ H x 338 1/2“ W x 19 3/4“ D inches).

Photo courtesy: © Acaye Kerunen Studio

ACAYE KERUNEN, Ouganda, 2021, Mixed Media, 155 cm H x 115 cm W (61” H x 45 1/4” inches) Photo courtesy: © Acaye Kerunen Studio

Brazilian artist Sofia Borges (b.1984) has been using the photographic medium to study philosophical notions and to question the mere act of representation itself for over a decade. Her extensive field of research started at Acaye Kerunen, paleontology museums, caves and other spontaneous shrines of archetype archiving that more recently has evolved into a practice oscillating between performance, collage, image and metaphysics. Disconcertingly unfamiliar and unrelated objects are unified through her strong aesthetic language and subsequently further intertwined to the body of her work, always in a seemingly intrinsic manner.

Although the artist works with different media and production methods, one can find a strong connection within the work, especially with regard to the incorporation of historical references in the context. Both Kerunen‘s and Borges‘s works stand out for their very personal visual language, which is characterized in particular by the use of diverse media as well as an association to the individual background of the artists. However the works are able to discuss current and necessary social issues. Displayed together they represent the strong visual language of two powerful female artists.

Art Brussels 2023

April 20th -

April 23rd, 2023

SOFIA BORGES, matter, clay or trance #7, 2021, photography, Courtesy of the artist

STEIN 158132

I-III]

Essay by Markus Redl

Galerie Kandlhofer is pleased to present Markus Redl and Maximilian Prüfer amongst other artists at Art Düsseldorf.

From a block of Statuario marble, which has natural fractures, i.e., surfaces that resulted from quarrying, a pinnacle or rather, a tower-like spire that displays formal similarities to a Gothic pinnacle, was sculpted on an off-centre axis. At the base – the surface from which the tower arises – are slightly deformed, portal-like shapes topped with ornamental pediments. They are reminiscent of socalled gables (a structural element of Gothic architecture). The tower tapers at the top, it is textured with lines, along which bud-like shapes emerge, which evoke the ornamental and structural elements of a Gothic pinnacle: stylized carvings of curled leaves, buds, or flowers that art history describes as „crockets“.

The tower gets narrower to form a spire, but it does not come into being because a crossbeam puts an abrupt end to it. The ascending shape, the vertical movement towards the sky, is limited by a frame. It seems as though the tower was held in a vice that had reduced its natural size. Furthermore, the interplay of the forms of the base, the tower, the openings, and the frame, respectively, remind one of a ship‘s hull with masts and sails. The buds turn into bells on a tower that sets and keeps a ship of fools on course. Sticking to this image, one can find the inscription at the stern of the ship: INTERREGNUM A and on the sail, which is reversed relative to the hull, there is the inscription & EIN on one side and SCHIFF. - INTERREGNUM A & EIN SCHIFF - on the other.

The title of the sculpture Mediazän I-III (mediacene I-III) could therefore not only imply that it is a geological time interval, but also that this is merely a transitional phase, an interregnum. Given that the suffix „-cene“ (originally from Greek koinós, new, recent, unusual) is used to form terms for various geologic periods and that the sculpture has formal references to a ship as well as to Gothic architecture, the combination with „media“ (originally from Latin medium, middle, mediator, carrier) inevitably raises questions about the correlations between the dawn of the modern age in the late Gothic period, and the great upheavals of a media-dominated world, that are being fuelled by digitalisation. With its engravings, title, and footnote, the sculpture thus functions as an enigmatic apparatus that, when operated, releases stories that can render relationships between past and future comprehensible. Detecting correlations between phases of upheaval in the past and current events can help to present the apocalyptic moods as well as the euphoria regarding the future in a more neutral light.

Thus, there is a continuous interregnum, an interim government, the period between the departure of a ruler, and old, prevailing problems, and the appointment of a successor and the new difficulties that this entails. When measured in terms of geological periods, cultural manifestations are little more than interregna and the stir they cause mere regional peculiarities. But can these concepts be extrapolated? Perhaps not in terms of our behaviour’s impact within a globally interconnected world, but certainly in terms of our assessment of our capabilities. Human hubris and the associated view of the extent to which the human mind controls its world seem to be a reliable constant.

In his book „ Was ist diesmal anders? Wirtschaftskrisen und die neuen Kunstmärkte“ (What is different this time? Economic Crises and the New Art Markets), Dirk Boll addresses how profound the radical changes of our time are, how profound the world is about to change as a result of digital developments. Production, commerce, transport, education, the environment, all these things will be transformed by advancing digitalisation and thus reshape the lives of all human beings to an unprecedented extent.

The quote “Media Art, before the term existed“, from a book on an exhibition in Berlin about the Gothic period, describes how thoroughly the changes of the 15th century were. The development of printmaking and printing were crucial for the course of the entire European history, for commerce, the dissemination of information, and the canonisation of leitmotifs, their transmission, and the formation of cultural identity. During this period, religious communities create centres in which capital can be concentrated. Craftsmen organise themselves into guilds and establish the framework for practising their trade. Sculptors, painters, goldsmiths do not work alone and not in an individual style, but in workshops that have a cooperative character and pursue the implementation of a form of appearance that we would call corporate identity today. For the first time, interdisciplinary collaborations are taking place that are directed towards a common goal. Engravers, glass painters, carvers, carpenters, stonemasons, founders, silver- and goldsmiths, chasers, and many more are jointly committed to the manufacturing of a final product that should not only astonish but simply overwhelm the people of the time. How intense the experience of a Gothic cathedral must have been back then may be hard to comprehend today. Vibrant light, colours, shrines, the sound of organs, an architecture that stretches towards the sky and seems to dissolve into unfathomable tracery, and all that for the praise to God; while the heralds of the Copernican revolution were approaching fast, to irreversibly dismantle this fantastic architecture of unlimited power. Now imagine that we were at a similar point today, and in 550 years there will be an exhibition about our time, a part of the Mediazän, somewhere between I and III. It will have been a ship of fools; just like the sculpture.

132 See Dirk Boll, Was ist diesmal anders? Wirtschaftskrisen und neue Kunstmärkte, Berlin 2021; Michael Eissenhauer ed., Spätgotik - Aufbruch in die Neuzeit, Berlin 2021. Art

MARKUS REDL Stein 158132 [Mediazän I-III], 2021, Statuario Marmor, 145x105x55cm, 780kg, Courtesy of the artist

MAXIMILIAN PRÜFER, Honey-Pictures, Credits to Studio Maximilian Prüfer

MAXIMILIAN PRÜFER AT WELTMUSEUM WIEN

Opening Tuesday, June 16

Exhibition Dates: 18 June 2023 - 24 April 2024

Weltmuseum Wien

Heldenplatz, 1010 Wien

XIE LEI

Xie Lei (b. 1983 in China) has lived and worked in Paris since 2006. He graduated from the CAFA in Beijing then the ENSBA in Paris.

His works have been exhibited in numerous public and private institutions: Collection Lambert, Avignon (FR); Centro de Creación Contemporánea de Andalucía C3A, Córdoba (ES); Casa de Velázquez,Madrid (ES); PS120, Berlin (DE); MAC VAL, Vitry-sur-Seine (FR); Langen Foundation, Neuss (DE); Musée National d’Histoire d’Immigration, Paris (FR); Musée des Beaux-Arts de Dole (FR); Yishu 8 Foundation, Beijing (CN); Ricard Foundation, Paris (FR). His oeuvres feature in many public and private collections such as those of the TBA21 (Thyssen-Bornemisza Art Contemporary) Collection, the MAC VAL, the Colas Foundation, the Burger Collection, Rennie Museum in Vancouver and the X Museum in Beijing. In 2016, Xie Lei received his PhD in visual arts at Ecole Normale Supérieure and ENSBA Paris. In 2020-21, he was a resident of the Casa de Velázquez, as a member of the French Academy in Madrid.

We are pleased to announce the gallery‘s representation of

Breath, 2021, oil on canvas, 50 x 60 cm. Private Collection, photo: Philippe de Gobert, Courtesy of the artist, Meessen De Clercq and Galerie Kandlhofer

Photography by Manuel Carreon Lopez

EXHIBITION

WELTGEIST

JANUARY 18TH – FEBRUARY 18TH

FRAUKE DANNERT

FEBRUARY 23RD – MARCH 25TH

ALICIA VIEBROCK

MARCH 29TH – MAY 5TH

MARC HENRY

MARCH 29TH – MAY 5TH

MAXIMILIAN PRÜFER

MAY 11TH – JUNE 17TH

WELTGEIST

curated by Bjorn Stern

JANUARY 18TH – FEBRUARY 18TH

This exhibition at the Kandlhofer gallery titled “Weltgeist” (eng. World Spirit) aims to explore the question of humanism and its perseverance in a time of self absorption. At the core of my curatorial proposal, with the contributions of seven contemporary international artists, rest the Sisyphean problem with the enormity of us not knowing the fundamentals of our own existence. It is at times a mundane question and sometimes a stupid question and at times a dramatic question. But it is a question since the beginning of consciousness, helped by the advent of language, which has caused ideologies, systems of governance, religiosity and other belief systems to flourish in its ersatz. Humanity can ascertain its biological existence through the clarity offered by science and it can explain its utility through empirical means, such as the evolution of our species, our urge to reproduce and to the need for self preservation. But it cannot explain its purpose. For that question to become meaningful, one can be helped by the many means of speculation that we have invented or discovered for ourselves. Philosophy, at times, can help and in this particular exhibition - a view through the eyes of artists, grappling with the same question.

The spirit of the world Weltgeist as supposed to the spirit of the time Zeitgeist, speak of a connected humanity. The Zeitgeist speak only of the results of such connectedness. The Hegelian view, for those who have yet to explore his philosophies, speak of the Weltgeist not as an actual object or an all-encompassing, all-present God figure, but as a means to better understand and to philosophise about history. Hegel proposed that the Weltgeist always had representatives in the shape of Volksgeister, the great people of history, who could be relied upon to determine the future and thus circumnavigate the more speculative and in the age of reason and empiricism of the nineteenth century, less appealing application of superstition and religiosity to his famous thesis that “what is real is reasonable”. The future as revealed by the Volksgeister would simply be inevitable.

And what futures do artists imagine? In my view, they may represent the Volksgeister of our time. Artists operate with the self and the mediation of self examination much in the same way as many of the great people of history, the Volksgeister, did, who honed carefully crafted legacies and mythologies on a world scale, whereas artists create such worlds for themselves.

JOHN ROBINSON StNickface, 2022, Oil on paper on canvas 41 x 60 cm, 16 1/8 x 23 5/8 in, Courtesy of the artist

JANINE ANTONI

I open the gates, 2019, Mixed media gilded with 24 karat gold leaf 58.42 x 65.72 x 5.72 cm, 23 x 25 7/8 x 2 1/4 inches

Edition of 3 plus 2 artist‘s proofs (#2/3), (C35697), Image Credits to Ralph Smith

Interview with Arvida Byström

By Bjorn Stern

Arvida Byström, tell us about your artistic background and where you see your practice in the art world eco-system.

My artistic career started online. I‘ve posted my photographs online from an age of 12 and for some reason was always adamant on calling it art. This sort of led to myself and other people pushing me towards that direction and when I lived in London and then later Los Angeles I was in my early 20s always hanging out with people that were attending to or had gone to art school, so I usually say I‘ve gone to art school by proxy.

I think I am from and am occupying a digital photography, internet and the body sort of space in the art world which I very much enjoy and sometimes I am sincerely surprised that I am where I am since I am not from a family of artists or an abundance of wealth, hah.

The notion of ideal beauty has been with us since the beginning of story telling. How did you arrive at the works you are doing now with Harmony, the sex doll?

I am interested in putting the body into the digital. I have previously made some works on iPhones Siri where I for example have a video where she is reading a monologue about being a feminized digital entity. Siri often gets disembodied even though she has the body of millions of phones. Tech companies use words like „clouds“ to obscure the strain technology actually has on the environment.

So in the work with and research of Siri I stumbled upon the AI sex doll and thought it would be interesting to work with the digital woman on the other side of the spectrum - the truly embodied one. In the work with Harmony I have been thinking a lot about the human imagination - humans can create copies of human bodies in the form of sculptures, we create copies of human lives and minds through art forms like movies and books. Somehow we as a culture are terrified of these creations we make. What if we create books, movies or video games that make individuals stop wanting to live in „the real world“. What if we create a doll, a sculpture or just retouch our selfies in a way that no real living and moving human can be as beautiful?

The myth of Pygmalion from ancient Greece, a myth of a sculptor who sculpts a woman so beautiful he falls in love with her, is an excellent example of that this fear is not new but perhaps pathological to humans.

Is your work a response to recent philosophies of Posthumanism?

Do you believe in Posthumanism?

I see posthumanism more as a philosophy that discusses how technology shapes our minds and lives rather than something to believe in or not. Perhaps humans have always been a bit posthumanist. We have always used tools to help us do things more efficient. Writing has made our memories more accurate and have let us store and exchange information in a more efficient way. Cars have made us move faster. Phones are like an extension to our bodies and our brains. I do like how some posthumanist philosophers challenge humans to not center the world around ourselves but to invite robots and animals to be taken into the consideration of society and life as an equally important companion.

ARVIDA BYSTRÖM

The end of the world, 2022 Photographic print, 50 x 40 cm, 15 3/4 x 11 3/4 in, 10 editions 2 ap, Courtesy of the artist

Your new series have works with titles such as Pietà and Origin of the World which are strong references to iconic works in art history. How would you describe your interest in this kind of commentary?

We are in a time of culture creation where it is so easy to create striking imagery. Due to this I think if you want to make imagery that lasts you need to have a story to it and put it into some kind of context. For me art history is exciting and always a way to play with previous relationships and see how things has changed - if it has changed. With Pietà I wanted to bring in the christian creation story of how god created human in the form of himself, just as humans create technology in the form of ourselves - visual or intellectual. Are we like gods in relationship to technology, or are we perhaps more like Mary - a long for the ride but with no real control.

Do you think the advent of AI will be part of art history in the future?

It is already a part of art history! Just a little short time to be called history perhaps. The conversation around AI art is very similar to the discussion of photography and its rise in society, so no doubt AI will slowly find a way to adjust and get a more stable position in the art world just like most new mediums. Also humans have an extraordinarily beautiful way of making art out of all the tools we create. Take the written word for example, it was most likely created to record things like sales and transactions, eventually people used this tool to write poetry and novels! Goes for photography, AI and any other tools humans have created. We can help but to try to make art out of anything. How sweet is that!

FRAUKE DANNERT

FRAUKE DANNERT Traumfragmente

FEBRUARY 23RD – MARCH 25TH

In her artistic work, Frauke Dannert deals with the experience of space, architectural ideologies, the physical process of deconstruction and reconstruction and the illusion of spatiality. In her site-specific works, she explores the visual representation of reality and optical illusion, creating tension between real and simulated space.

Rauminstallation, Papiercollage 2022, Ausstellungsansicht: „Ortswechsel, die Kunstsammlung der Deutschen Bundesbank zu Gast im MGGU“, Museum Giersch Frankfurt, Foto: Wolfgang Günzel, Offenbach

FRAUKE DANNERT Laufen 2022, Papiercollage, Acryl, 27,9 x 21,5 cm,

Foto: Studio Dannert

MARC HENRY

MARCH 29TH – MAY 5TH

Marc Henry’s work distinguishes itself through a characteristically figurative style, drawing on elements of realism and estranging them through presented subject matters and painterly execution. Through his ominous yet playful visual language the artist explores societal shifts and transformations in relation to technological advances as well as digital image boards and their translatability into the medium of oil painting. The concept of reality and its prerogative of interpretation in the context of our post-factual age alongside digital image manipulation are of great interest for the artist.

work

His

has been shown at Kölner Liste, MMIII Kunstverein Mönchengladbach, Schloßmuseum Murnau, Kunsthalle Oktogon and Palais Rasumofsky amongst others.

MARC HENRY

Living Inside The Mind Of Somebody Who Lost His Own, 2022, oil on canvas, stainless steel frame 50x65cm, Foto ©Jana Perusich

MARC HENRY Sie Gestatten - Die Revolte, 2022, oil on canvas, stainless steel frame 65x50cm, Foto ©Jana Perusich

ALICIA VIEBROCK Tranquility Kink

MARCH 29TH – MAY 5TH

Alicia Viebrock (b. 1986, Munich, Germany) studied at the Kunstakademie Düsseldorf under Professor Herbert Brandl and lives and works in Cologne, Germany.

In Viebrock’s work exuberant colour formations meet reduced compositional constructs with calligraphic elements. Colour power and dominance meet purposefully placed painterly gestures. Fleeting structures interlock through the viscosity of the paint, condition each other as flowing colour fields or assert themselves in self-confident demarcation. The sensuality of the paintings is reflected in their immediacy.

The display of poured, dripped and splattered paint are indications of the expressive range of the artist, adopting a highly physical and psychological relationship with the surface. While strong colour fields on the canvas evoke a deliberate imbalance, the gestural settings on linen find a more determined hold, which is broken by gentle painterly expressions. The latter provokes a delicate flickering in the pictorial space.

Alicia Viebrock has been included in numerous solo and group exhibitions at renowned institutions such as: the Kunstmuseum Bonn, Deichtorhallen Hamburg, Museum Wiesbaden, Kunstverein Recklinghausen, Sammlung Grässlin, Fundación Maria Cristina Masaveu Peterson, and the Rubell Family Collection.

ALICIA VIEBROCK Installation view, Filiale, 2022 © Wolfgang Günzel

MAXIMILIAN PRÜFER

MAY 11TH – JUNE 17TH

Maximilian Prüfer (b.1986 in Weilheim Obb, Germany) Prüfer studied Design and Communication Strategy at The Augsburg University of Applied Sciences and Fine Arts at the Accademia di Belle Arti di Bologna, Italy.

Maximilian Prüfer’s practice predominantly involves the exploration of natural processes and their transference to the visual image. Within this, Prüfer examines a range of existential, philosophical and political subjects in relation to evolution, humanity’s manipulation of and ultimate interdependence with the natural ecosystem, contravening the human cultural paradigm of separation from natural phenomena. His works are fragile, unfathomable images in which raindrops appear like bullet holes, or traces of ants could be mistaken as stellar constellations. Prüfer uncovers the unremarkable by developing his unique representation technique denominated Naturantypie to record the movements and conduct of insects. With diverse layers of colour and fixative, the traces of insects, snails or rain are preserved on paper, thus creating extraordinary and highly aesthetic works. It depicts the most fundamental and instinctual forms of behaviour, including the impulse to survive and the economical employment of energy. With his work, Prüfer transfers minuscule details onto large formats and discloses, therefore, a new perspective of the world.

In 2023, Maximilian Prüfer’s works will be shown in a solo exhibition at Weltmuseum Vienna and in a group exhibition at Kunsthalle München. Maximilian Prüfer has received prizes and scholarships such as the Bavarian Art Promotion Award, the Konrad Adenauer Foundation Scholarship, the DG German Society for Christian Art Award, and the Swabian District Art Award.

Galerie Kandlhofer is pleased to introduce “Focus On“ a new section to the gallery program, providing a platform for different artistic positions. The section will run concurrently with the gallery’s main exhibition program in the project room and focus on bringing a diverse range of artistic aesthetics and voices to the gallery to form a broader cultural and aesthetic dialogue.

photography by Manuel Carreon Lopez

FOCUS ON

FREDY SOLAN

FEBRUARY 23RD – MARCH 25TH

DAVIDE BERNARDIS

MARCH 29TH – MAY 25TH

IRENA POSNER

MAY 11TH – JUNE 17TH

FREDY SOLAN

FEBRUARY 23RD – MARCH 25TH

IMPOSSIBLE OBJECT PAINTINGS

All objects have their own source of light. Looking for objects without prejudice. A vase, flowers on a table are represented in the still life compositions. I capture the Bio-rhythms of these flowers through digital sound recording and digital animation. I am able to create movement within the digitally captured sounds and gestures that are the foundations of these paintings, which are printed on canvas. Which reproduces formal interpretations through a rigorous layering of painting techniques, including hand-painting.

With this series of paintings, sounds can be visualized, colors from sound spectrum, electromagnetic waves brought from organic forms, and light moving at different speeds. This is with the aim of learning about the way our brain interprets color and its possibilities. This offers an aesthetic research of the movement of light in painting.

As simply as possible, I present the meaning of life and death dancing in this series. It is a Vase of flowers whose beauty unfolds slowly to an end. There is a universal truth that comes from an intimate point of view.

Biography

Fredy Solan (San Salvador, 1992) Berlin based.  Working between San Salvador and Berlin. As a native painter his work centers within and around the idea of new ways of representation and abstraction in contemporary painting, pointing to expanding painting and its limits with unexpected connections with other mediums.

FREDY SOLAN

Sunflower in Gb2_Bluish-Yellow_III, Acrylic and ink on canvas 63 x 72 inches / 160 x 180 centimeters, Courtesy of the artist

DAVIDE BERNARDIS curated by

Carmen Lael Hines

MARCH 29TH – MAY 25TH

Materia is an audio-visual installation which seeks to excavate entangled and expanded vocabularies for redefining how art and science can collaboratively re-approach the most urgent planetary challenges of our time.The viewer is led through a series of uncanny landscapes distributed across three visual-sound layers. These ‘worlds’ enmesh to form an evolving study of the layered past, present and future of Intelligence as an ontological lens. Created by artist Davide Bernardis (Berlin) and commissioned by Blaise Aguera y Arcas in collaboration with a team of international independent designers and scientists from the Max Planck Institute of Molecular Cell Biology and Genetics (Dresden), and Human Technopole (Milano), Materia (Latin Noun: materia; English: substance, material) considers how we can re-imagine relations between consciousness, technology and the natural world.

The work employs state-of-the-art light and electron microscopy data; generative adversarial network (GAN) for image processing; satellite image processing, and hyper-realistic 3D rendering to procure three interconnected environments: the surface of Mars, a morphing synthetic landscape, and nano-scale data of the brain’s architectures and cellular life. The visuals are accompanied by un-published extracts from a conversation between the large language model laMDA, the most sophisticated conversational AI ever developed, licensed by software engineer Blaise Aguera y Arcas. By reflecting on its own state of consciousness, the conversation provokes themes of perception, intelligence, and evolving relationships between the environment, human, and non-human.

Utilizing different technological and aesthetic conditions of perception belonging to the fields of art, science and engineering – the work proposes both a visual narrative and an approach to bring together art and science through multidisciplinary collaboration. By fluidly shifting focus through visual, sound and text layers generated in dialogue between human and technology, the work sets foot in unexplored narrative territory – in which the uncanniness of documented reality surpasses that of imaginable fiction. Divergent methodologies and languages are applied to process the emerging complexity of our planet and its temporalities – collapsing into a unifying multi-scalar vision of the contemporary landscape.

In the wake of a perpetual state of political, financial and environmental crises – Materia looks at the collapse of our ontological foundations as a necessary step to learn from the overlapping challenges of the present.

The audio-visual work will also integrate a sound performance by Katarina Gryvul on 29 March, 2023.

DAVIDE BERNADIS Materia, Filmstills, 2022, Courtesy of the artist

DAVIDE BERNARDIS Materia, Filmstills, 2022, Courtesy of the artist

IRENA POSNER

MAY 11TH – JUNE 17TH

Irena Posner works primarily with marble and limestone. Her material research is informed by ancient carving techniques, examining the space between object and body, and ritualistic connections between stone and landscape. The spontaneity of direct monolithic carving and the reductive approach looks for playfulness, accident and humour to explore feminine subjectivities, ageing and immortality embodied in animal forms and situated bodies. Animals or bodily fragments are monumentalised and venerated seeking out approaches which re-contextualise marble, a material associated with masculine endeavour and permanence, cold and historically problematic, to question existing hegemonic structures and gender roles.

Irena Posner (b.1987) works between Carrara and London. She graduated from Royal College of Art in 2022 with a Masters in Sculpture. She was awarded the Harlow Sculpture Town Artist in Residence for 2023 and was the recipient of the Gilbert Bayes Sculpture Award in 2021. She was shortlisted for the Kenneth Armitage Award in 2022 and has undertaken residencies in Carrara, Italy and Weymouth, England, and most recently completed a 6-month carving residency at the University of East London. Her works are held in Odunpazari Modern Museum, Turkey and Fondazione Benetton, Italy.

Select solo and exhibitions include: D Contemporary, (2023), Groundwork, Studio West (2022), Ashburner Sculpture Prize (2022), Stone Lane Gardens (2022), Making Marks, Battersea Park (2022), Degree Show, Royal College of Art (2022), Equal quantities of everything, The Baths Hackney Wick, London, (2022), Flesh, Old Operating Theatre, London (2020), WIP, Royal College of Art, London (2020), Movement, Tate Exchange, Tate Modern, London (2019), Unfinished, Peckham Levels, London (2018), Light Ignites our Inspiration, Asylum, London (2018), Snorkel, Cookhouse Gallery Chelsea, London (2018), Fragments, The Garage, London (2017), Still Lives, Erarta Gallery (2016), London Griffin Gallery Open, Griffin Gallery (2015)

IRENA POSNER

Cross your toes, 2022, Portland stone on pine sleepers, 120 x 80 x 50cm, Courtesy of the artist

IRENA POSNER

Eva perched on a wood beam, 2022, Statuario marble on tree trunk, 70 x 53 x 48cm, Courtesy of the artist

Galerie Kandlhofer

Brucknerstrasse 4, 1040 Vienna, Austria

info@kandlhofer.com

+43 1 503 1167

Cover

Detailansicht Maximilian Prüfer, Von Innen/Außen, 2021, Naturantypie und Papier, 178 x 120 cm, 70 1/8 x 47 1/4 in © Courtesy of the Artist

Page 2

Maximilian Prüfer, Honey-Pictures © Studio Maximilian Prüfer

Page 4

Acaye Kerunen, Kakare, 2021, Mixed media, 370 cm H x 860 cm W x 50 cm D (145 5/8“ H x 338 1/2“ W x 19 3/4“ D inches). Photo courtesy: © Acaye Kerunen Studio

Page 5

Acaye Kerunen, Ouganda, 2021, Mixed Media, 155 cm H x 115 cm © Acaye Kerunen Studio

Page 6

Sofia Borges, Collage with Face, Door and the Absolute. , 2019, Printed and mounted in January 2020, signed by the artist., Pigment print on Hahnemühle Ultra Smooth Rag 305g paper, 225 x 150 cm, 88 5/8 x 59 1/8 in, Edition of 5 plus 1 artist‘s proof (#3/5) © Courtesy of the Artist

Page 7

Sofia Borges, matter, clay or trance #4, 2021, photography, courtesy of the artist © Courtesy of the Artist

Page 9

Markus Redl, Stein 158132 [Mediazän I-III], 2021, Statuario Marmor, 145x105x55cm, 780kg © Courtesy of the Artist

Page 11

Markus Redl, Stein 158132 [Mediazän I-III], 2021, Statuario Marmor, 145x105x55cm, 780kg

© Courtesy of the Artist

Pages 12/13

Maximilian Prüfer, Honey-Pictures © Studio Maximilian Prüfer

Pages 14/15

Xie Lei, Breath, 2021, oil on canvas, 50 x 60 cm. Private Collection, photo: Philippe de Gobert, Courtesy of the artist, Meessen De Clercq and Galerie Kandlhofer

Pages 16/17

Installation view of Galerie Kandlhofer © Manuel Carreon Lopez

Page 19

John Robinson, StNickface, 2022, Oil on paper on canvas, 41 x 60 cm, 16 1/8 x 23 5/8 in, © courtesy of the artist

Pages 20/21

Janine Antoni, I open the gates, 2019, Mixed media gilded with 24 karat gold leaf, 58.42 x 65.72 x 5.72 cm 23 x 25 7/8 x 2 1/4 inches, Edition of 3 plus 2 artist‘s proofs (#2/3), (C35697), © Image Credits to Ralph Smith

Page 23

Arvida Byström, The end of the world, 2022, Photographic print, 50 x 40 cm, 15 3/4 x 11 3/4 in, 10 editions 2 AP, © courtesy of the artist

Pages 24/25

Arvida Byström, Coexist, 2022, Photgraphic print, 30 x 40 cm, 11 3/4 x 15 3/4 in, 10 editions 2 AP, © courtesy of the artist

Page 26

Frauke Dannert, Rauminstallation, Papiercollage 2022, Ausstellungsansicht: „Ortswechsel, die Kunstsammlung der Deutschen Bundesbank zu Gast im MGGU“, Museum Giersch Frankfurt, Foto: Wolfgang Günzel, Offenbach

Page 27

Frauke Dannert, Laufen 2022, Papiercollage, Acryl, 27,9 x 21,5 cm, Foto: Studio Dannert

Page 28

Marc Henry, Living Inside The Mind Of Somebody Who Lost His Own, 2022 oil on canvas, stainless steel frame, 50x65cm ©Jana Perusich

Page 29

Marc Henry, Sie Gestatten - Die Revolte, 2022 oil on canvas stainless steel frame 65x50cm ©Jana Perusich

Pages 30/31

Alicia Viebrock, Installation View, Filiale, 2022 © Wolfgang Günzel

Page 33

Maximilian Prüfer, Seven Fish, 2021, Naturantypie; Fabriano Paper 650 g/m2, 141 x 140 cm, 55 1/2 x 55 1/8 in © courtesy of the artist

Pags 34/35

Installation view of Galerie Kandlhofer © Manuel Carreon Lopez

Page 37

Fredy Solan, Sunflower in Gb2_Bluish-Yellow_III, Acrylic and ink on canvas, 63 x 72 inches / 160 x 180 cm, © Courtesy of the Artist

Page 39

Davide Bernadis, Materia, Filmstills, 2022 © Courtesy of the Artist

Pages 40/41

Davide Bernadis, Materia, Filmstills, 2022 © Courtesy of the Artist

Page 43

Irena Posner, Cross your toes, 2022, Portland stone on pine sleepers, 120 x 80 x 50cm, © Courtesy of the Artist

Pages 44/45

Irena Posner, Eva perched on a wood beam, 2022 , Statuario marble on tree trunk, 70 x 53 x 48cm, © Courtesy of the Artist

Backcover

Detailansicht Maximilian Prüfer, Von Innen/Außen, 2021, Naturantypie und Papier, 178 x 120 cm, 70 1/8 x 47 1/4 in © Courtesy of the Artist