GALLERY MAGAZINE | SPRING - SUMMER 2024 by GALERIE KANDLHOFER

SPRING-SUMMER 2024

Gibts die Fotos von Talar auch in scharf.... :)) ????

TALAR AGHBASHIAN, Collapsible-Dog, 2023 Oil on canvas, 101,5 x 76 cm, (CD.Relic.23), © Courtesy of the Artist 2

CONTENT

HIGHLIGHTS

EXHIBITIONS

RICHIE CULVER Exit Strategy - Condo London 2024

ANDREAS GREINER 23 JAN - 8 MAR

RECENT ACQUISITIONS Karl Karner, Maximilian Prüfer, Xie Lei

FAYE WEI WEI 14 MAR - 6 APR

ACAYE KERUNEN Curator of the Ugandan Pavillion at the 60th Biennale. Exhibition at Barbican

KARL KARNER 11 APR - 1 JUN

ACAYE KERUNEN 6 JUN - 13 JUL

MARC HENRY Gallery Representation

ALICIA VIEBROCK Gallery Representation

HANNAH PERRY Exhibition at the Baltic Museum

FAYE WEI WEI New Publication

FOCUS ON FRANCISCO TAVONI 23 JAN - 8 MAR

TALAR AGHBASHIAN 14 MAR - 6 APR

AMY STEPHENS 11 APR - 1 JUN

Cover: Hannah Perry, Snake Tan, 2023, Aluminium, autobody paint, 95 x 80 x 5 cm

HIGHLIGHT

RICHIE CULVER EXIT STRATEGY - CONDO LONDON 2024

Galerie Kandlhofer was invited by CARLOS/ISHIKAWA to be part of CONDO 2024 to show a solo presentation of British artist Richie Culver. 'They were called the children of nowhere, and belonged to a world where the imperatives of ever-increasing speeds had ended up abolishing places and geographies. Travel was at their expense: from cities saturated with wisps of smoke and the smell of acres of hydrocarbons, to muddy lacustrine territories devoid of human presence. Their phones were their only compass. In these stateless lands, gleams like fireflies from antic times lit up their faces like cursed icons. It was as if they were endlessly consuming information, simulacra of inaccessible worlds. We didn't know whether they were really present or the distant, holographic presence of a recent past. In landscapes of elegiac or agonized nature, they were lost like sickly silhouettes on islands. The progenies of Dark England were plunged into autophagic internships where they had to consume the lives of others. It was a way of domesticating them, taming them through the power of hyperimages and hypersounds, the standardized, hysterical language of the contemporary. Future subaltern and schizophrenic heroes, they would soon become the slaves of sprawling, omnipresent computer devices. The era in which they lived was subject to constant dopamine stimulation and reward games. Gaming, shopping, facebooking, instagramming, twitching, reediting, telegramming, snapchatting, their phones delivered kicks of continuous excitement. It was as if their smartphones became a hypodermic needle delivering their doses, their hormones of immediate pleasure 24 hours a day. They were hooked up to a steel cage.' Excerpt of a text by Pierre-Alexandre Mateos & Charles Teyssou

Exhibition date: 20 Jan - 17 Feb Location: Carlos/Ishikawa, Cooks Yard, Unit 4, 88 Mile End Road, London E1 4UN, United Kingdom

RICHIE CULVER Film Stills, Exit Strategy, 2024, Condo London at Carlos/Ishikawa, photo credits courtesy of the artist

HIGHLIGHT

RECENT ACQUISITIONS MAXIMILIAN PRÜFER AND XIE LEI AT ALBERTINA MODERN

MAXIMILIAN PRÜFER - ALBERTINA MODERN Galerie Kandlhofer is delighted to announce the acquisition of Maximilian Prüfer’s work Rainpicture 17.05.22 (2022) by the Albertina Museum, Vienna. Additionally, two works by the artist have joined the permanent collection of the Landesbank Baden-Württemberg.

XIE LEI - ALBERTINA MODERN Galerie Kandlhofer is pleased to announce the acquisition of four works by Chinese Artist Xie Lei by the Albertina Museum, Vienna.

Richie Culver, Bilddaten

HIGHLIGHT

RECENT ACQUISITIONS BY MUSEUMS & COLLECTIONS

KARL KARNER / PERMANENT COLLECTION OF THE CITY OF GRAZ Galerie Kandlhofer is thrilled to announce that Karl Karner’s work UKKO (2021) has joined the permanent collection of the Styrian capital Graz.

HIGHLIGHTS

ACAYE KERUNEN CURATING THE UGANDAN PAVILION AT THE 60TH BIENNALE, VENICE

Preparations for the Biennale, Afropocene, Uganda, Credits: Acaye Kerunen

In a groundbreaking development for the global art community, Ugandan multidisciplinary artist and curator, Acaye Kerunen has been appointed as this year’s curator for the Pavilion of Uganda at the 60th Biennale in Venice this year, after an exciting solo show in 2023 at BLUM in LA. Further she is preparing another solo exhibition in London at Pace Gallery. Known for her transformative work that transcends borders and challenges artistic norms, Acaye is poised to bring her unique vision to one of the most celebrated art platforms in the world. Acaye Kerunen's trajectory as an artist and activist has been marked by a commitment to amplifying voices often marginalized in the global discourse. From her roots in Kampala, Uganda, Acaye has crafted a narrative that intertwines personal experiences, cultural consciousness, and a relentless pursuit of empowerment through art. After forming part of the last Venice Biennale as an artist, she now takes on the role as curator. And as such, Acaye brings a wealth of perspectives to the show, shaped by her diverse artistic endeavors, collaborations with women artisans, and a dedication to environmental and societal issues. Her appointment heralds a new era for the Ugandan Pavillon, characterized by inclusivity, diversity, and a celebration of African artistic expressions. 10

Exhibition date: 13 Feb - 26 May Location: Barbican Centre, Silk St, London EC2Y 8DS, United Kingdom

EXHIBITING AT BARBICAN, LONDON

Credits: Acaye Kerunen

Acaye Kerunen will form part of a show at Barbican which explores the transformative potential of textiles in art history and contemporary practice. This exhibition, featuring over 100 artworks by 50 international artists spanning from the 1960s to today, aims to bring attention to the underexamined role of textiles in conveying personal stories, hidden messages, and universal themes such as gender, labor, ecology, and ancestral knowledge. Curated thematically, the show covers six key themes, including 'Subversive Stitch,' 'Fabric of Everyday Life,' 'Borderlands,' 'Bearing Witness,' 'Wound and Repair,' and 'Ancestral Threads.' The exhibition places artists in intergenerational and transcultural dialogues, challenging dominant narratives, power structures, and pushing the boundaries of fine art and craft. "Unravel" questions why textiles serve as a resonant medium for addressing ideas of gender, sexuality, displacement, and histories of extraction and violence. The showcased artworks, ranging from intimate handcrafted pieces to large-scale installations, employ historic and experimental techniques to explore these complex themes, illustrating the enduring spirit of hope and connection that textiles bring to artistic expression.

HIGHLIGHT

NEW ARTIST REPRESENTATION MARC HENRY

Galerie Kandlhofer is pleased to announce the Gallery’s representation of Marc Henry. Marc Henry (b. 1996, Munich), lives and works in Vienna. The artist completed a diploma in fine arts at the Academy of Fine Arts in Vienna under Daniel Richter. Additionally he graduated Cultural Economics at LMU Munich and SU Stockholm as well as the masters program Educating/Curating/Managing at the University of Applied Arts, Vienna. Marc Henry‘s work has been shown at MMIII Kunstverein Mönchengladbach (2018), Schloßmuseum Murnau (2019), Kunsthalle Oktogon (2020), Palais Rasumofsky (2021), Anton Faistauer Prize For Painting (2023), and at the Belvedere 21 (2023), amongst others.

"My painting practice derives from a specific interest into an artistic language that deals with narration and tries to translate stories into figurative works, drawing on elements of realism and estranging them through presented subject matters and painterly execution. 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 me. My personal process begins mostly with found footage from the internet or my own digital archive that I have amassed over the years. I use them to create elaborate digital collages in photoshop - and in the recent series with the help of A.I. powered image editing platforms and 3D rendering programs - which I print out and use as an inspiration in the studio where I translate the motif into oil. Oftentimes I come back to the digital file after making discoveries on the canvas painting, edit the file again, change colors or play with the composition to create a new motif which I again incorporate in the painting. It is a process of rhythmic reciprocity until a form is found that can be understood as a pseudo-narrative, containing falsified memories of a premeditated reality.“ Artist statement, Marc Henry

MARC HENRY The summit I , 2023, Oil on canvas 120 x 90 cm, photo credit to Jana Perusich 12

HIGHLIGHT

NEW ARTIST REPRESENTATION ALICIA VIEBROCK

Galerie Kandlhofer is pleased to announce the Gallery’s representation of Alicia Viebrock. Alicia Viebrock (b. 1986, Munich) currently lives and works in Vienna, Austria. Viebrock studied Art History and Fine Arts at the Art History and Fine Arts, University of Regensburg (2009), The Academy of Fine Arts, Mainz (2009) and The Academy of Fine Arts, Düsseldorf, in the class of Herbert Brandl (2017). Alicia Viebrock's works are characterized by a sweeping, energetic brushstroke that suggests movement and rhythm and represents an act of dynamised painting. The paintings are created by building a composition, which is brought onto the canvas by means of a white preliminary drawing and is supplemented and continued by an intuitive gesture, which often means an enormous physical effort. The virtuoso application of paint is dominated by a light-flooded coloristic and oscillates between flowing and set, between permeable and impasto. With the strongly expressive, gestural expression of her works, Viebrock joins the tradition of American abstract expressionism, which was decisively influenced by artists such as Joan Mitchell and Helen Frankenthaler. As with Mitchell and Frankenthaler, the spontaneous artistic gesture plays an important role in Viebrock's work as an expression of individual freedom. In an autonomous act of painting, Viebrock has created a series of vibrant and tension-filled works that allow the viewer to immerse himself in the pulsating world of colour created by the artist.

ALICIA VIEBROCK I don't need sleep, I need answers, 2023, Acrylic and Ink on Linen, 180 x 150 cm 14

HIGHLIGHT

HANNAH PERRY EXHIBITING AT THE BALTIC CENTRE FOR CONTEMPORARY ART

Hannah Perry’s multi-disciplinary practice spans across installation, sculpture, film and printmaking. Perry continuously generates and manipulates materials to develop an often candid, and personal exploration of mental and emotional health in our contemporary, hyper-networked society. Her exhibition at Baltic will consider the intersection of industry, class, gender and labour. The psychologically-charged installation will use materials, from sheet metal to car lacquer, body wrap and hydraulics, that are often associated with manual occupations in manufacturing and industry. Drawing on the her personal history growing up in a working-class family in the north of England, the new commission explores shifting cultural and social values, shaped by the economic forces of capitalism and their effects on mental and emotional health. Capturing the nuances of inter-generational and gendered ideas of labour, in a context of struggle, economic instability, uncertainty and precariousness, the artwork reflects on the artist’s own personal experience –steel, hydraulics, and shock absorbers, are choreographed to resemble a pelvis during labour. The work captures the force, violence, struggle, shock and trauma of the transition and its brutal, constrained power.

Exhibition date: 22 Jun - 14 Jan 25 Location: Baltic Centre for Contemporary Art, S Shore Rd, Gateshead NE8 3BA, United Kingdom

HANNAH PERRY Installation View at Galerie Kandlhofer - Body Shop, 2023, photo credit to Manuel Carreon Lopez

HIGHLIGHT

FAYE WEI WEI NEW PUBLICATION

Portals is a collection of paintings and drawings by London-based artist Faye Wei Wei that spans the duration of her career until present. It will be published in 2024 by Editions Lutanie with the support of Galerie Kandlhofer and Cob Gallery. The collection narrates for a distinct cast of characters drawn from literary, personal, and environmental inspirations. Central among them are individuals in the artist’s cherished community of friends and loved ones. Faye Wei Wei has described her painting as an “intimate choreography between actual and pictorial space,” and in Portals the artist undoubtedly finds this balance.

New Publication: Portals, by Faye Wei Wei Published by Editions Lutanie With the support of Galerie Kandlhofer and Cob Gallery 20 × 25.5 cm 280 pages To be released in 2024 www.editionslutanie.fr/_en/

FAYE WEI WEI I Tangled Your Legs in Mine. We Were a Knot in the Grain of the World, 2019, Pencil on paper, 21 × 29.5 cm artwork (53) © the artist, courtesy of Cob Gallery

Photography by Manuel Carreon Lopez 20

EXHIBITION ANDREAS GREINER

23 JAN - 8 MAR

FAYE WEI WEI

14 MAR - 6 APR

KARL KARNER

11 APR - 1 JUN

ACAYE KERUNEN

6 JUN - 13 JUL

EXHIBITION

ANDREAS GREINER GAME OF LIFE / 23 JAN - 8 MAR Andreas Greiner's exhibition, titled "Game of Life," draws inspiration from mathematician John Horton Conway's game from the 1970s. The artist metaphorically envisions the exhibition space as a socio-technological game field. Visitors embark on a captivating journey through two rooms representing different times and spaces. In the first room, Greiner presents intricately printed microcircuit boards with motifs depicting dreamlike landscapes devoid of human presence. A mobile bonsai equipped with a camera interacts with visitors, creating a synthesis of organic and technological interaction. The second room, reminiscent of a Viennese coffeehouse, blends traditional elements with modern technology, featuring diverse voices from artificial intelligences. The exhibition explores the relationship between humans and technology, questions the true source of intelligence, and contemplates the possibility of a balanced and regenerative future for the planet. Andreas Greiner (b. Aachen, Germany, 1979) lives and works in Berlin, Germany. After studying medicine, anatomy, and art in the Institute for Spatial Experiments (Institut für Raumexperimente), Greiner has devised a practice that encompasses time-based, living and digital sculptures, photographs, and video, with a concentration on the influence of anthropogenic interventions on the form and evolution of “nature.” Incorporating artificial intelligence, living organisms such as algae, flies, and chickens, genetically modified cells, and at-risk ecosystems, Greiner’s art effects a shift of perspective in which the classical divisions between nature and culture, between human and non-human are undone. Not unlike setups for scientific experiments, his works examine man’s impact on the biological and atmospheric processes of our planet. Greiner has exhibited his work at the Mönchehaus Museum Goslar as the 34th recipient of the Kaiserring emerging-artist award, and Berlinische Galerie, Kunsthalle Mannheim, Hamburger Kunsthalle, Centre Pompidou, among many others.

ANDREAS GREINER Blowin’ In The Wind, 2023, printed circuit board (PCB) with conducting paths and soldered microchip, framed in aluminium, 125 x 80 x 5 cm, Edition of 4 + 3 AP, Foto: Jens Ziehe, courtesy Dittrich & Schlechtriem 22

ANDREAS GREINER Exodus, 2023, printed circuit board (PCB) with conducting paths and soldered microchip, framed in aluminium, 80 x 125 x 5 cm, Edition of 4 + 3 AP, Foto: Jens Ziehe, courtesy Dittrich & Schlechtriem

EXHIBITION

ANDREAS GREINER Joint Venture, 2023, vegetated graphics processing unit (GPU), framed in aluminium, 30 x 20 cm,, Unique in series of 4

ANDREAS GREINER Installation View - Game Life, 2024, photo credit to Manuel Carreon Lopez

EXHIBITION

FAYE WEI WEI 14 MAR - 6 APR

Faye Wei Wei (b.1994 in London, UK) graduated from the Slade School of Fine Art in London, UK (BA Hons) in 2016. British painter Faye Wei Wei's bold, poetic works quiver with a lively, lyrical motion, combining classical poise with vibrant immediacy. Working on a large scale, Wei Wei conceives of the painting process as an intimate choreography between actual and pictorial space. Often revolving around spiritual iconography and classical myth, love rituals and the theatricality of gender, her works sometimes suggest the themes of particular mythic narratives, and at other moments seem to depart into a more ambiguous, interior space of incongruity and uncertainty. Stateliness coincides with brute force and pastel softness; symbols seem to shake free of their moorings and float, surrealistically, on the liquid expanse of dream. The scenes might be imagined, but the energetic, bold brushstrokes, executed in thin layers, suggest something actually witnessed, balanced on the edge of reality.

FAYE WEI WEI Orchids flowered out of reach or for some reason not to be touched, 2021, Oil on canvas, 183 x 137 cm, Courtesy of the artist 26

EXHIBITION

KARL KARNER FICHTENGRAU / 11 APR - 1 JUN You humans. You, with your names! Every thing needs its name, you say, and you fail to realize that giving a name is always a form of taking. The name is brutal. It tears the thing out, roots and all, and moves it to another place. I know it only too well: Every name is a transplantation.

Mum brings 1000 snails to heaven every day, she says. I think heaven is very big. In the watering can is poison for the snails. We are frugal and only have one. The forest is full of spruces like the garden with snails, both are not from here. The forest needs us humans, says the farmer and starts the chainsaw, it's a pity that the forest has had to live without us for so long. Shot 5 birds last week, all were ringed, starting to collect rings am the only one with this hobby at the moment. Hammered 80 nails into the spruce, I wonder when it will die?

That's the way it is. But I grow into your names and out of them. Where the names end, I begin to speak.

Text excerpt: Lea Wintterlin Quotes: Karl Karner

KARL KARNER fichtengrün, 2023, aluminium, height: 265 cm Photo: Karl Karner 28

KARL KARNER fichtensilber, 2023, aluminium, plants, concrete bricks, dimensions variable, photo: Karl Karner

With the „Tümpelprojekt“ Karl Karner supports individuals, companies or associations who are willing to create swamp or pond areas in nature. There are hardly any habitats in which such a vast diversity of living creatures can be found in such a small space and yet these valuable ecosystems have largely been lost. The pond project aims to empower people and at the same time encourage them to use their resources sustainably - for instance by investing in nature. By participating, the initiators will receive a bronze sculpture by the artist, which itself was strongly inspired by ponds and wetlands. Want to participate? Write to info@kandlhofer.com

N E P O

CALL

Foto: Karl Karner

EXHIBITION

ACAYE KERUNEN 6 JUN - 13 JUL

Acaye Kerunen is a multidisciplinary performance and installation artist, storyteller, writer, poet, actress and activist based in Kampala, Uganda. Her installations are forged from natural materials locally grown, harvested, dyed and woven in Uganda, including banana fibre, raffia, reeds and palm leaves. Through her work, she seeks to dismantle the hierarchies of fine art and craft, elevating women’s labour within socio-political systems. She often commissions local women to create baskets, tablemats, winnowing trays, and other functional items before reimagining them as assemblage installations. Materiality is central to Kerunen’s artistic practice, and her mutable, expansive installations can be understood as living artworks. Through her intuitive use of material, colour, and form, the artist creates enthralling biomorphic abstractions that envelop viewers into their folds. "Your approach seems to offer a multisensory experience with the inclusion of music and visually striking figurines. In the upcoming exhibition at Galerie Kandlhofer music and dance are elemental parts of your performance. Could you share more about the role of music and dance in this exhibition and how it complements or enhances the visual aspects of your artworks?" The figurines in the exhibition are frozen in movements of dance, following through with a body of work focused on themes of liberation and trauma release. Dance plays an intricate part in trauma release and healing. The female figurines represent a form of dancing out of toxic or traumatic situations. The music accompanying the work is based on poetry inspired by, written around, or after the creation of the artworks. It adds sound resonance to the overall experience, and I am considering a live performance in Vienna, allowing the audience to interact with the figurines and their unique stories. "The use of handmade figurines frozen in dance movements is a captivating element of your exhibition. What inspired this choice, and how do you envision these figurines interacting with the viewers and the overall narrative of the exhibition?" I envision the figurines being hung from the ceiling, appearing as if they are floating, while some may be positioned on the ground in various forms of movement. This arrangement allows the wind and light to play on the forms, adding depth to the interpretation of space. The dance poses represent a form of emotional release. Each figurine tells a unique story and is part of a plot progression within the exhibition. The aim is to create an interactive experience for the audience, inviting them to listen, to dance and find their own rhythm in the presence of these powerful narratives.

Portrait of Acaye Kerunen, Photo Credit to Ethel Aanyu 34

"Your artistic practice often involves collaboration with women, particularly craftswomen. How has this collaboration influenced the creation of the figurines and the overall presentation of your exhibition?" Collaboration is integral to my artistic practice as the material base comes from women who weave, twine, or braid, and I transform these materials into new stories. These woven artifacts carry stories of resilience, liberation, and other themes. This collaboration adds depth to the narrative and presentation of the exhibition, creating a connection between the materials used and the stories they inherently carry. "Looking ahead, are there specific themes or mediums you are eager to explore in your future artistic endeavors? How do you see your artistic practice evolving in the coming years?" Where I see myself? (Laughs) I envision a more vibrant and fully realized multi-disciplinary career that goes beyond traditional exhibitions. My future endeavors may involve performances, publications (both visual and written), and theatre productions. I am drawn to exploring diverse mediums and forms of artistic expression that resonate with my evolving identity as an artist. Because I am all those things and they are all within me.

“Focus On“ runs concurrently with the gallery’s main exhibition program in the project room and focuses 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 36

FOCUS ON FRANCISCO TAVONI

23 JAN - 8 MAR

TALAR AGHBASHIAN

14 MAR – 6 APR

AMY STEPHENS

11 APR - 1 JUN

FOCUS ON

FRANCISCO TAVONI SIMULACRA AND SIMULATION / 23 JAN - 8 MAR

Simulacra and Simulation by Francisco Tavoni researches our connection with reality and how the media manipulates society into perceiving the ultimate truth. This new body of work mimics the blurriness of reality that humans absorb daily from the media. The society of the spectacle has distorted our capacity to discern between truth and illusion. As society seeks fulfillment through the simulacra of reality, the question previously asked by Jean Baudrillard in Simulacra and Simulation arises: “Are the mass media aligned with the power in manipulating the masses, or are they aligned with the masses in the dissolution of meaning, in the violence inflicted upon meaning, and in fascination? Does the media induce fascination in the masses, or do the masses guide the media into the spectacle?” "...The simulacrum is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true." While Fibonacci's rule of composition provides Tavoni's work with visual structure, a recent trip to New York pushed the artist to evolve, drawing inspiration from Daniel Correa Mejia's vibrant paintings. This series deviates from Tavoni's classic hues and figuration, allowing for the emergence of abstract forms resembling spiritual beings. This stage of creation empowers Tavoni to push the boundaries of human representation and the definition of reality. From using blinded eyesight imagery to representing uncertain forms, the artist’s pursuit is to create awareness of the pursuit of total internal freedom. Encapsulating these soon-to-be liberated beings, are polished aluminum frames - which serve as an imaginary shiny cage to escape. Born in 1986 in Caracas, Venezuela. Lives and works in Byron Bay, Australia. Francisco Tavoni uses photography as a way to collectively understand the power of affection. He addresses the ego and the generation of identity as a process that can –and furthermore should– occur within the body instead of outside of it, without the predominance of outer patterns. Tavoni sustains himself in this realm where genuine identity is formed, in the depths of oneself, where no exterior norms apply.

FRANCISCO TAVONI Simulacra And Simulation IV , 2024, Unique, Ditone Print on Baryta Rag Waxed With Aluminum Artist Made Frame, 119 x 176 cm,, courtesy of the artist

FOCUS ON

FRANCISCO TAVONI Installation View - Simulacra & Simulation, 2024 Photo credit to Manuel Carreon Lopez 40

FOCUS ON

TALAR AGHBASHIAN 14 MAR - 6 APR Everything is a tree, Everything is painted, everything everywhere. My landscapes slowly transition. I catch myself painting figures. As I start from a structure, a shape that can stand or be. A monster? A transient vampire, that lives through the times, where bits of landscape gets stuck to these character-structures, in some cases the bits of landscape takes over, and it -the landscape, becomes the subject; still, like it’s figure counterparts being as much a living breathing thing, as it indeed is! So far removed we are from the living-landscape that we would otherwise miss. The painting looks at you and we want to peer back. The set like framing of the works points to the space within the frame, to this transient space. As the painting pulls together, and I help it on its legs, and see it revealed. The bunching-of-stuff process, helps the painting have a flow and movement, whisked in time, mirroring the ephemerality of life, of all beings and non-beings alike, of eroding cultures and lands, of places I known and never knew. Speedy drawing lines imbue freedom to the painting, it is an integral part of it. The harder cartoonlike outlines accent the forms, renders it ironical, witty, whilst stripping it down, and amplifying, it lends it a reality that is told in the way of painting. Born in Beirut in 1981, Talar Aghbashian lives and works in London UK. Aghbashian is primarily a painter, her works explore the human intervention within the landscape. Where her approach to both, painting and landscape is from a place of discovery. Her paintings, explore the human relationship to the landscape, and the projection of one onto the other. Talar Aghbashian graduated from the Lebanese University of Fine Arts (BA) 1999-2003, Central St. Martins College of Art and Design London (MA) 2007-2008, and Birkbeck University of London 2009-2010. She was a recipient of AGBU grant NY, and Benlian Trust grant London, 2007-2008. Aghbashian has thought at different schools, and MUT University in Lebanon 2003-2007, and has worked as a curator at the NHM and the V&A Museums London 2009-2010. She has been exhibiting since 1998 in the UK, Germany, Lebanon, and the UAE. Her group exhibitions include: Musee Nicolas Sursock Beirut 2003, 2004, 2007, Barge House 2008, Cordy House 2008, Coningsby Gallery 2009, Brunei Gallery SOAS 2010, Bearspace Gallery and Mall Galleries in 2012, Turps Gallery 2016, Walker Art Gallery-Liverpool Biennal, Sluice Biennal 2017 London, Paris Internaternationale 2018, Heartbreak exhibition 58th Venice Biennale 2019, Phillips 2019, Natural Environment space 2020, First edition of South South- Veza, and Marfa In collaboration with Galleries Curate, and Terrace Gallery in 2021. Solo exhibitions include The French Cultural Center Lebanon 2005. Blind Finds at the Running Horse- Beirut 2013, Site/Sight at Carbon 12- Dubai 2015, and Transposition at Marfa projects- Beirut 2018. In 2016 Aghbashian was a recipient of the John Moores prize, UK.

TALAR AGHBASHIAN Paper Doll, 2023, Oil on Canvas, 101 x 76 cm,, (TA.PD.23), courtesy of the artist

FOCUS ON

AMY STEPHENS 11 APR - 1 JUN

Underpinned by geology and travel, Amy Stephens is interested in reusing, recycling and re-appropriating waste and everyday sustainable materials from our daily environment. Architectonic sculptures are made from steel, bronze and stone. Each material is sourced to create a precise balance and communicate a specific narrative. Geometric forms reference specific, architectural features and offer portals onto the continuously evolving landscape. Recent artworks raise awareness to climate change with rocks set upon modern steel pedestals creating a bond between the natural and the constructed. Biography Selected solo exhibitions Persistence of Land, Bo Lee and Workman Gallery, Bruton, UK, (2023); Nature knows only colours, Art Seen Maria Stathi, Nicosia, Cyprus (2021); fig-futures, Grundy Art Gallery, Blackpool, UK (2018); Land | Reland [Portland], Upfor Gallery, Portland, Oregon, US (2018); fig2, 35/50, ICA Studio, London, curated by Fatoş Üstek (2015).

AMY STEPHENS Silent Wonder, 2023, Marble, polished bronze, 63 x 153 x 153 cm, Photo credit: Dave Watts 44

CREDITS

Galerie Kandlhofer Brucknerstrasse 4, 1040 Vienna, Austria info@kandlhofer.com +43 1 503 1167

Cover Hannah Perry, Snake Tan, 2023, Aluminium, autobody paint, 95 x 80 x 5 cm, photo credit to Manuel Carreon Lopez Page 2 Talar Aghbashian, Collapsible-Dog, 2023, Oil on canvas, 101,5 x 76 cm, (CD.Relic.23), photo credit to the artist Page 5 Richie Culver, Film Stills, Exit Strategy, 2024, Condo London at Carlos/Ishikawa, photo credit to the artist Page 6 Maximilian Prüfer, Rainpicture 17.05.22, 2022; Front: Meteorite stain; American walnut; archival board; hardboard; 140 x 200 cm, (2022_19_001), photo credit to Manuel Carreon Lopez Page 7 Xie Lei, Still Life IV, Still Life XVII, Still Life XII, Still Life XX; 2023, Oil on paper, each 42 x 30 cm; photo credit to Manuel Carreon Lopez Page 8 and 9 Karl Karner, UKKO, 2021, aluminium, silicone, concrete, moss, plant, 70 x 75 cm, height 237 cm, photo credits to Manuel Carreon Lopez Pages 10 and 11 Photo credits: Acaye Kerunen Page 13 Marc Henry, The summit I , 2023, Oil on canvas 120 x 90 cm, photo credit to Jana Perusich Page 15 Alicia Viebrock, I don't need sleep, I need answers, 2023, Acrylic and Ink on Linen, 180 x 150 cm , photo credit to Manuel Carreon Lopez Page 17 Hannah Perry, Installation View at Galerie Kandlhofer - Body Shop, 2023, photo credit to Manuel Carreon Lopez Pages 18 and 19 Faye Wei Wei, I Tangled Your Legs in Mine. We Were a Knot in the Grain of the World, 2019, Pencil on paper, 21 × 29.5 cm, © the artist, courtesy of Cob Gallery Pages 20 and 21 Galerie Kandlhofer, photo credits to Manuel Carreon Lopez Page 22 Andreas Greiner, Exodus, 2023, printed circuit board (PCB) with conducting paths and soldered microchip, framed in aluminium, 80 x 125 x 5 cm, Edition of 4 + 3 AP, photo: Jens Ziehe, courtesy Dittrich & Schlechtriem Page 23 Andreas Greiner, Blowin’ In The Wind, 2023, printed circuit board (PCB) with conducting paths and soldered microchip, framed in aluminium, 125 x 80 x 5 cm, Edition of 4 + 3 AP, photo: Jens Ziehe, courtesy Dittrich & Schlechtriem

Page 24 Andreas Greiner, Joint Venture, 2023, vegetated graphics processing unit (GPU), framed in aluminium, 30 x 20 cm, Unique in series of 4, photo credit to Manuel Carreon Lopez Page 25 Andreas Greiner, Installation View - Game of Life, 2024, photo credit to Manuel Carreon Lopez Page 27 Faye Wei Wei, Orchids flowered out of reach or for some reason not to be touched, 2021

Oil on canvas, 183 x 137 cm, Credit to the Artist.

Page 29 Karl Karner, fichtengrün, 2023, aluminium, height: 265 cm, photo: Karl Karner Pages 30 and 31 Karl Karner, fichtensilber, 2023, aluminium, plants, concrete bricks, dimensions variable, photo: Karl Karner Page 32 and 33 Karl Karner, Tümpelprojekt, 2023, photo: Karl Karner Page 35 Portrait of Acaye Kerunen, photo credit to Ethel Aanyu Pages 36 and 37 Galerie Kandlhofer, photo credit to Manuel Carreon Lopez Page 39 Francisco Tavoni, Simulacra And Simulation IV , 2024, Unique, Ditone Print on Baryta Rag Waxed With Aluminum Artist Made Frame, 119 x 176 cm, courtesy of the artist Pages 40 and 41 Francisco Tavoni, Installation View - Simulacra & Simulation, 2024, photo credit to Manuel Carreon Lopez Pages 43 Talar Aghbashian, Paper Doll, 2023, Oil on Canvas, 101 x 76 cm, (TA.PD.23), courtesy of the artist Page 45 Amy Stephens, Silent Wonder, 2023, Marble, polished bronze, 63 x 153 x 153 cm, photo credit: Dave Watts Backcover Hannah Perry, Snake Tan, 2023, Aluminium, autobody paint, 95 x 80 x 5 cm, photo credit to Manuel Carreon Lopez

Galerie Kandlhofer, Brucknerstrasse 4, 1040 Vienna, Austria, info@kandlhofer.com, +43 1 503 1167

kandlhofer.com