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cult objects in schild’s typical language of forms, for me, are his new sculptural works with titles such as “tipi of condolence,” “reincarnation kiosk,” and “last rites of a godless machinist,” which unify death and resurrection, recte zur einsicht kommen that all is one, life as well as death, transformation. or so it appears, at least at first glance.

 and at second glance? do we first of all have to touch the objects in order to get hold of them, to understand them? it is also safe to assume that the sculptural vocabulary created by schild is hard to transfer into another medium. maybe one can only pick out associations, which come to light upon closer inspection.

 schild’s objects are gorgeous, radiating an enormous aesthetic appeal. while some see an accumulation of tears in the “tipi of condolence,” others regard it as sea horses. the bottom line is that we do not get very far with this. a standstill is marked. time seems to be frozen. we are amazed like children gazing at something entirely new.

 what makes his works so fascinating is his completely unique style that easily stands out from the fullness. like the works of calder, moore, or chillida, those of the former student of gironcoli have found their fixed place among contemporary sculptures.


>> information about the artist - alois schild

>> flyer "sekundenschlaf am hochaltar" (jpg, 670kb)

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