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the exhibition pathless by albin schutting and elisabeth schutting employs art to explore reality and its perception. to do so, various media are brought into play: painting, video and object art

albin schutting's paintings are part of a series entitled in the woods. the paintings' protagonists are depicted in an abstract forest, where hardly any paths are visible. these protagonists include strollers, bathers, warning signs as well as runners, all located in this impassable area. the short texts on some of the paintings are not only meant as association aides, they lead into the surreal realm of memory and thought as well. an exhausted runner, for example, seems unable to accept the depicted painting/memory. the „woods“, in this case, do not describe a real place, but a psychic space to be explored and investigated. frequent companions in this are dogs, sometimes roaming, sometimes looking around helplessly.

on the one hand, albin schutting paints on large-size canvases, on the other hand he approaches the theme using fragile, finely painted drawings on paper.

the video pathless by albin schutting and elisabeth schutting uses motives from these paintings and drawings. a runner (animated drawings by albin schutting) seems to run on and on without making any headway. alien forest fragments, nightmarish figures, sequences and signs emerge, interlock, disengage and vanish. this video strives to connect the works of both artists.

in her work, elisabeth schutting uses fragments and excerpts from various sources: paintings, media images, private and public photographs that appear to be historic documents, as well as ornaments. these she reassembles, reworks and combines into new images, containing new meanings and information. the works utilizing paper orbit around the exhibition's theme, pathless describing not only natural terrain but a situation, a state of being in equal measure. the dispossessed and disenfranchised, stages of life that pose almost insurmountable obstacles, threats and fears that make the path of life seem pathless appear as motives in these works.

all these images mesh and merge, lose their isolated state and become inextricably linked.
(stefanie grünangerl)

as in earlier works, elisabeth schutting used the techniques of collage. pieces of the whole images are painted, drawn, glued or rubbed on the canvas. the works' formal aspect is determined by experimenting, transparency and overlap, continuation and multiplying.

fragments are combined into a new stream of consciousness, defying attempts to interpret the work unambiguously. politics may meet the decorative, the mundane, the scientific or the religious.

an inextricable mesh of references develops and grows, as well as - or caused by - the inextricability of the works themselves. this network of references causes an exponential rise of possibilities regarding meaning and interpretation – it also shows that reading images is never easy or clear-cut.
(stefanie grünangerl)

the images are complemented by three dimensional objects: squares, seemingly taken from uncultivated land and immersed in a white of museum-like quality block the visitor's path.

>> information about the artist - elisabeth schutting

>> information about the artist - albin schutting

>> flyer "unwegsam" (jpg, 987kb)

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