current exhibitions

VIENNA​ - Groundfloor

curated by:

KENDELL GEERS

Marina ABRAMOVIC, Sanell AGGENBACH, Lynda BENGLIS, Pamela BERKOVIC, Belinda BLIGNAUT, 

Bianca BONDI, Anna CEEH, Valie EXPORT, FXXXXism, Kendell GEERS, Gilbert & George, Susy GÓMEZ, Fabrice HYBER, Aleksandra KARPOWICZ, Thomas LEROOY, October! Collective, Tracy PAYNE, Sandrine PELLETIER, Yapci RAMOS, Anneliese SCHRENK, Lerato SHADI, 
Hank Willis THOMAS, Betty TOMPKINS, Iv TOSHAIN, James WEBB, Sophie WHETTNALL

MERDELAMERDELAMERDELAMERDEMERDELAMERDELAMERDELAMERDELA

curated by Kendell Geers

With this year’s festival’s theme “Circulation” Mario Mauroner Contemporary Art is delighted to

introduce “MERDELAMERDELAMERDELAMERDELAME” curated by Kendell Geers, presenting 26

international artists. The show’s title follows the idea of an infinite loop and picked into pieces a

variety of single terms arises, capturing this year’s edition theme: Every individual is connected to the world in which all is circulating.

We live in a time where voices are expressed in different ways and through a wide range of channels.

The internet has become a virtual place of emergence of the real, it is basis of global networking and carrier of many contemporary debates, actions and protest movements. Virtual space is offering unprecedented potential of spaces of dialogue and discussion. Many of those concluding in the same moment as others were established, it is a place of parallel existence of these voices. “The right to speak is the most basic of all human” so Kendell Geers underlining the show’s essence: Hearing of the voice is its visualization, visualization of its message.

In the antique poem “Bronte” (Greek: thunder), that as discovered as part of the gnostic Nag-

Hammadi manuscripts (~350 C.E.) an anonymous voice of exhortatory character speaks out “I am the name of the sound and the sound of the name”. Found in 1945 in Egypt the text piece is until the present day the only piece of writing that seems to be by a female author originating that time. It speaks out in contradictions, lost between female power and its deprivation: “I am the whore and the holy one. I am the wife and the virgin. I am the mother and the daughter…I am the utterance of my name”. Evoking in its core an awareness of the self and the humans’ voice as the strongest instrument of power.

“History is written by the winner” states Geers on (art) history. It is not only written by the male

winner, but as well preserved by it.

Whores, saints, wives, virgins, mothers, daughters - artists have been deliberately ignored and left out, as many examples attest. Once again “MERDELAMERDELAMERDELAMERDELA” is dressing a present status quo, where exclusion is a common practise. Attempting to do so, the presented artworks take use of the core of this exclusion: The play with (historical) fear of femininity.

In the background of a time, that demands an urgent need “MERDELAMERDELAMERDELAMERDELAME”

postulates the replacement of Descartes “I think therefore I am”. Our time cries out loudly for honesty, determination and boldness as the show proclaims: I think therefore #IPROTEST.

Fostering the show’s character to act, four performances at the inauguration evening by Belinda

Blignaut, FXXXXism (Anna Ceeh & Iv Toshain), Aleksandra Karpowicz, Sophie Whettnall invite to

participate, underlining the need to act. Finally, not to go down in a MER DE LA MERDE. Or as

Grace Jones once sang:

“This is my voice - my weapon of choice”

VIENNA​ - Basement

LAb[au]Lab"yes:no, perhaps"

The art collective LAb[au] is composed of Manuel Abendroth, Jérôme Decock and Els Vermang and based in Brussels, Belgium. In their practice, the artists investigate the relation between art and language not only by means of written words and other forms of coded language, semantics, but also through signs, or semiotics. Likewise, they take a linguistic approach, employing information and communication science in the field of art. 

 

LAb[au] studies the transformation of architecture and space-time structures in harmony with technological development using a MetaDeSIGN (meta = information about information) is the theme of space constructions in relation to information processes; architecture as code/transposition of inFORMation processes in n-dimensional form. 

Like a lexicographer LAb[au] deploys arrays of books, exploring the infinite combinations of shapes and indexing possible ways to fill, to blacken, an empty white page. Thus, their rule-based approach questions the materiality, process and concept of art. LAb[au]´s pratice is rooted in the tradition of conceptual art, where tautologies and fundamental units such as space and time consitute the artistic vocabulary. Through the use of algorithms the artists contextualize these notions in our contemporary world.

 

LAb[au]´s art is part of public and private art collections worldwide and has been exhibited in some of the most prestigious art venues, such as MOMA (New York, 2014), the Mussée d`Art Contemporain (Montreal 2014), the Venice Biennal (2013), Fondation Vasarely (Aix-en-Provence, 2010), Singapore Art Museum (Singapore, 2010), BOZAR (Brussels, 2009+2010), TENT./ Witte de With (Rotterdam, 2006), Centre Georges Pompidou (Paris, 2004+2005), New Museum (New York, 2003), Louvre (Paris, 2000) and many more. 

SALZBURG

 MARIO MAURONER CONTEMPORARY ART SALZBURG                         

 

 

Ferro

Equilibres, Probs and Color Spaces

 

 

 

Performance, punk, dance and the circus!

 

It was in the middle of the 1970s, when the Austrian artist FERRO (*1953, Cologne) studied at the Fachhochschule für Kunst und Design in Cologne, that Joseph Beuys founded the „Freie Universität“ in the nearby Düsseldorf. At the same time he proclaimed a new extended concept of art which seemed then to dominate the zeitgeist of the 1970s: art should be open to all people independent of their background and social status. By questioning the actual state of the art scene and criticizing the existing norms of institutions, such as galleries and museums, the art world was stirred up. 

FERRO, who refers with his artist name already on his preferred medium, found his way together with his brother and a fellow student into the art world by founding  „JET FERRO“, a performance group but also a punk band. By doing so, the artist began to work in a format that from now on should accompany him for quite a while: the collective.

 

The interventions of Jet Ferro, which were connected to the tradition of Fluxus, were shown at the Art Basel as well as at the Documenta 6. FERRO, who understands art as an entanglement and overlapping of different fields, reunions various medial approaches and was active in many roles: as a musician, as an actor and performer, as a driving force or as a creator of the requisites for his theater productions. Fluxus, dance, punk and the circus were brought together within performances and shaped the early artistic career of FERRO. Through the connection of different fields the artist gained inspiration that led to a complexity in FERROs ouvre, which reflects today a wide repertoire of artistic approaches and concepts.


In 1980 FERRO moves to Basel and afterwards to Zürich. Together with the dancer Yvonne Vogel he established „Bumper To Bumper“ an experimental theater and performance collective. For more than ten years of being active as a director and performer the collective toured around Europe. At home, his studio functioned as a creative lab. Here ideas for performances and plays were born and conceptualized and a general understanding of the art scene, that seemed to suffer from being narrowed down and petrified, was debated and discussed. For FERRO critique and persiflage of existing standards was not only essential but highly appreciated. After a three year residence in New York in the early 90s Ferro returned in 1995 to Cologne and focussed on his artistic solo career. Since 2006 he works and lives in Munich. 

 

The visual lightness of FERROs current exhibition Levitanting Composition surprises, refreshes and enchants. 

FERRO, who is presented in Vienna with this solo exhibition for the first time, indicates with the show's title his underlying concept: he creates his art like a musical composition, where the single component only gets full meaning within the whole. 

 

The piece „Linienschiff 01:28“ was finished during night time, as the combination of the numbers reveals. They mark a 

point in time, which was preceded by an intense construction process of great precision. „Linienschiffe“ a series of hanging objects consisting of carefully arranged and balanced fragile metal rods, that calmly take over the space and interact with it in a subtle way. Gently those delicate objects respond to the slightest breeze with a little noticeable starting of movement, that returns any time the air dynamic of the room changes. The quiet movement can then be perceived as a vague shadow play on the walls. Linienschiffe appear as floating worlds, as a loose levitating drawing and capture the performative characteristic of Ferros art work: the object stages itself as the actor, who refuses the actual state and celebrates constant transmission and change. Thus the Linienschiffe create an immediate connection with the outside world: the world in constant movement, the art world in transformation. 

 

Also FERROs freestanding sculptures „Fuge 21:26“ and „Construction 20:14“ are based on the reduction to the line, that in turn generates volume through its arrangement. Their appearance present the spatial extension of FERROs graphical art work and remind the viewer on Piet Mondrians early, cubistic influenced images of trees or on Lucio Fontanas reduced Concetto Spaziale. A fluent transmission between two and three-dimensionality is once again suggested and can be found as well in FERROs wall installations „Colour Installations“. 

In exact measurement metal rods are placed on the wall or on coloured panels and play cleverly with the beholders perception. Here an immediate distinction of three and two dimensionality is difficult, they require the visitors investigating view. An immanent character of FERROs artwork gets apparent: the pieces hypnotically captivate the gaze and promptly involve the visitor. The formation of the metal rods can be read as a musical score, which draws cleverly the eye of the beholder towards his artistic work. 

The series „Colour Space“ equals a stage setting. Again fine metal rods are arranged inside a usually coloured cuboid, which is open on one side. The objects remind on the appearance of an actor on a stage, who exposes himself to the audience. The look in it also offers the view into a parallel world, which seems to follow its own temporality and rules. 

Yet again the aspect of time in the artist's oeuvre is sharply accentuated and implies here a further – the fourth – dimension.

 

The exploration of the exhibition Levitating Composition and FERROs work as a whole is likewise the exposure of notes of a musical piece - or it is like taking off layers little by little: If the essence is laid bare, it is only just doing justice to reflect the complexity of the world that surrounds us. 

Mario Mauroner Contemporary Art Vienna is more than delighted to present the discovery of the remarkable artist FERRO, who is firstly presented in Austria. With the exhibition „Levitating Composition“ the gallery is proud to show a wide spectrum of FERROS artwork and to have to honour to continue a cooperation with this extraordinary artist in the future. 

 

 

 

 

MARIO MAURONER CONTEMPORARY ART VIENNA                                                                           t. +43.1. 904.2004

Austria – 1010 Wien, Weihburggasse 26                                   e-mail: office@galerie-mam.com

www.galerie-mam.com

Solo exhibitions (Selection):

 

2018 "Levitating Composition" MAM Mario Mauroner Contemporary Art Vienna

2017 Galerie Denise René – Paris, France.

2016 / 17 "Levitating Colour":  DAN Galería São Paulo and Espace Expression – Miami, USA. 

2016 "Gravity":  Maddox Arts – London, UK.

2015 "Weight for Showing": Maddox Arts – London, UK.

"Playing with Gravity": iGallery – Palma de Mallorca, Spain. 

2014 "Suspencion / Enclosure":  Louis Stern Fine Arts – Los Angeles, USA.  

2013 Galerie Catherine Putman – Paris, France. 

2010 "Interrupted Silence": Maddox Arts – London, UK. 

2009 DAN Galería – São Paulo, Brasil. 

Louis Stern Fine Arts – Los Angeles, USA.

Galería Cayón – Madrid, Spain. 

Galerie Axel Holm – Ulm, Germany. 

2008 "Raum Zeichen": Galerie Jöllenbeck Michael Nickel – Cologne, Germany. 

2007 Galerie Bergner + Job – Mainz, Germany. 

"Linienschiff Kap. 22:18 im Dialog mit Erwin Heerich" – Mainz, Germany.

2006 „Skulpturen Partitur":  Opernfestival – Gut Imming, Germany.

"Skulptur & Zeichnung":  Kunstverein – Rügen, Germany.

2005 "Drawing Body Gravity": Galerie Jöllenbeck Michael Nickel – Cologne, Germany.

"Linienschiffe": Galerie Thomas – Munich, Germany.

Galerie Ueker & Ueker – Basel, Switzerland. 

 

 

Exhibition participations / Installations (Selection):

 

2017 Galerie Denise René – Paris, France. 

"Transition": MAM Mario Mauroner Contemporary Salzburg.

DAN Galería – São Paulo, Brasil.  

2016 "Composition":  Galerie Catherine Putman – Paris, France.   

"Linienschiff Kap. 22:18 im Dialog mit Erwin Heerich" – Mainz, Germany

2015 "Common Lines":  Silvan Fässler, Fine Art – Zug, Switzerland.  

"Beyond Gravity": Gallery Corona Unger – Bremen, Germany. 

"Weight for Showing":  Maddox Arts, London, UK. 

Zeitkunstgalerie – Kitzbühel, Austria.  

"MOMENTUM: Arte cinético, óptico y geométrico,": Pablo Goebel Fine Arts, Mexico City.

2014 "Maarten Birkman, Frans Mossou, Knopp Ferro":  Galerie Franzis Engels, Amsterdam.

2010 "European Sculpture, Difference and Diversity": Nave Gallery Turin, Italy.

2008 "Diagonal":  Galería Cayón, Madrid.

2005 "When Humor Becomes Painful":  Migros Museum für Gegenwartkunst Zürich, Switzerland.

 

 

 

Performances (Selection): 

 

2003 "The Razor´s Edge #4 mit Mike Jansen: Ausstellung Terry Fox" – Friedericanum Kassel.

1999 "Transit": Museum für Gestaltung, Zürich.

1997 1. International Performance-Conference, Chulalongkorn University – Bangkok, Thailand.

1996 "Die is Cast" mit Jo Schulteis:  Stadtmuseum Köln, Germany.

1995 "Performances á la carte" mit Ben Patterson: Ultimate Akademie –  Köln, Germany.

1994 "Krisenstab 1" curated by Bill Arning, Rushmore Festival Woodbury, New York.

1992 "Kanossa III, Der Fluchturm": Galerie Urs Meile – Luzern, Switzerland.

 

MARIO MAURONER CONTEMPORARY ART VIENNA                                                                           t. +43.1. 904.2004

Austria – 1010 Wien, Weihburggasse 26                                   e-mail: office@galerie-mam.com

www.galerie-mam.com

DESIGN + PROJECTS - VIENNA
roomnumberOne - VIENNA

LAb[au]Lab"yes:no, perhaps"

VIENNA LINE curated_by
Dr. Lóránd Heygi​
14.09.2018 - 13.10.2018
Kendell GEERS, Michelangelo PISTOLETTO, Bernardí ROIG, Ugo GILETTA, Marine JOATTON, Barthélémy TOGUO, Sandra Vasquez DE LA HORRA, Fabien VERSCHAERE
VIENNA LINE curated_by
Dr. Lóránd Heygi​
14.09.2018 - 13.10.2018
Kendell GEERS, Michelangelo PISTOLETTO, Bernardí ROIG, Ugo GILETTA, Marine JOATTON, Barthélémy TOGUO, Sandra Vasquez DE LA HORRA, Fabien VERSCHAERE

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VIENNA LINE curated_by
Dr. Lóránd Heygi​
14.09.2018 - 13.10.2018
Kendell GEERS, Michelangelo PISTOLETTO, Bernardí ROIG, Ugo GILETTA, Marine JOATTON, Barthélémy TOGUO, Sandra Vasquez DE LA HORRA, Fabien VERSCHAERE
VIENNA LINE curated_by
Dr. Lóránd Heygi​
14.09.2018 - 13.10.2018
Kendell GEERS, Michelangelo PISTOLETTO, Bernardí ROIG, Ugo GILETTA, Marine JOATTON, Barthélémy TOGUO, Sandra Vasquez DE LA HORRA, Fabien VERSCHAERE

Ich bin ein Textabschnitt. Klicken Sie hier, um Ihren eigenen Text hinzuzufügen und mich zu bearbeiten. Klicken Sie einfach auf "Text bearbeiten" oder doppelklicken Sie, um Ihren Inhalt hinzuzufügen und die Fonts zu ändern. Ziehen Sie mich an die gewünschte Stelle auf Ihrer Seite.

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© 2018-20 Mario Mauroner Contemporary Art

Mario Mauroner

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