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08/04/2015     vernissage and summerparty
7 pm     music from 2seedsleft
09/18/2015     finissage
7 pm     concert trio lepschi

an element which was artificially produced for the first time in 2010. a long procedure. 250 days of radiation, 90 days of cleaning, 150 days of atomic bombardment. this led to the first six atoms of the element. it took the isotopes only 14 milliseconds to disintegrate.

can art be described as an element of our life? i declare it to be such, and even more than that, a vital element of life, not unlike ununseptium in its composition and fragility. artists also put their ideas, skills, obsession, power to use in the development of their works which can be destroyed in no time by external influences as well. and if one component does not fit, all has been in vain.

persisting on the art market depends on many factors. being in the right spot at the right time. meeting trends and tastes. having the right connections … maybe not at all unlike ununseptium.

17 new elements at the artdepot. and time will tell how long these elements will persist.

this exhibition also aims to find out, if and how exhibitions with various artists work. can paintings, drawings, installations, sculptures, photographs be reduced to a common denominator? or does one have to contemplate each position separately? can we label this exhibition a thematic exhibition? many questions are raised. 

nicoleta auersperg
for the exhibition „ununseptium“ the artist designed collages that approach the scientific topic in a playful way. based on associations, the works touch upon topics such as the (in)finite search for the origin of the earth, the unpredictability of the effects of scientific progress as well as the powerlessness of the individual human being in this process. the artist has taken the images from the world wide web, a place where knowledge is supposedly acquired and images are accumulated, and combined them with basic geometric shapes, which function as replacements for additional associations or are in direct connection to the depictions.

fritz berger

alfonzo conzeta
working under the pseudonym alfonzo conzeta, the urban artist works on the in- and exteriors of urban space and in his series “hidden luxury” takes a peek underneath the surfaces of the buildings making up our living space. by detracting wall corners, he shows hidden luxury. alfonzo reveals seemingly hidden, invisibly circulating capital in his works and takes it to the surface. “hidden luxury” emerges and becomes part of the room (as an installation). hidden luxury is seamless and fuses with the surface. alfonzo conzeta’s work grows in concentric circles emanating from innsbruck and the journey continues…

katja duftner
each half of the spheres put on display symbolizes russian-american cooperation as a physiopolitical snapshot with most delicate links, precise thinking and sometimes chaotic structures. it is a snapshot taken from a process which – with a possible restaging of the “cold war” looming – will not happen again like this in the near future.

fedor fischer
... with today's mass production, it appears that the quality and innovation levels are dropping. this is what the protagonists on fedor's paintings see in their profession (popular music) as well. they are watching us dully, hopelessly, yet expectantly, pensively, yet emptily. the threatening nothingness behind them is but an echo of the emptiness they are staring at, the emptiness of this world ...

alfred graf
the body presses itself into the pebbles of the beach. earth from the beach is spread throughout the hollow (shadow). once this “image” is surrendered to the play of the tide, it soon disappears again. if the hollow is filled with hot wax, a torso is created, an artefact of the occurrence at this place. the ancient israelites put up stones in special places, marked them with inscriptions and poured oil over them to conserve the memory. alfed graf manufactures the material of a place into an object, into a memory storage. he often roams the vicinity, observing if something stirs inside his body. in some places, resonances occur, in others, nothing happens at all. assonance may ensue, elsewhere he becomes elated or experiences fearfulness, senses opening effects or notices rising memories. it is in these places that memories originate which are inextricably linked to the place itself. he often perceives structures in the material of the place (sand, stone, earth) that corresponds with his inner feelings. what is inside is projected into the environment and processed there. the place becomes a healing/”holy” place. just like shamans or alchemists, he uses the material representatively. it becomes something else, it is transcended. place and action form a (living) mandala, an “image” of the outside that affects the inside.

philipp haselwanter

heidi holleis
man in the context of social and biological structures is what is at the heart of the artistic work of heidi holleis. in order to approach a topic, the artist does research  in all available media. thus, she creates a cognitive framework, a bridge that rests on the pillars of philosophy. since 2011 heidi holleis has replaced color pigment with ash, the essence of fire and wood. contemplation, reduction, restart and destruction are an expression of this kind of material. what holleis offers the spectator in her images is a surface on which to project one’s own thoughts as part of a cycle and dissolution.

JUFI
ivana juric (animator) and fedor fischer (painter) are two young and awarded academic artists from croatia. although they are the artists of two totally different sensibilities, they paint at the same time and make each particular painting exclusively together in collaboration. the works of the JUFI artistic duo represents an unique visual experience: the abundance of animal and plant motifs in a huge symphony of nature, which is anything but pathetic, will clearly emphasize the thesis that man is just a small link in the chain of living beeings, subordinate to the plant and animal life. the saturation and complexity of motifs, colors, gestures and composition in each painting thoroughly sequenced in a large number of plans is not trying to produce chaos but it suggests a comprehensive and synchronous formation of a painting like an evolutionary series from simple to more complex organism. in each painting there is a strict order, which is felt as an inherent superior cosmic order and law regardless of the strong dynamic of each composition. the value of the works is also manifested through the high recognizability of the style dominated by a combination of realistic painting and one-dimension illustrativeness.

wonkun jun
his style of painting, which has gradually developed out of monochrome color space painting, carries a very personal thumbprint. because of the multilayered application of thin acryl colors jun creates a color space which constitutes the fascination of his works. what all his paintings have in common is that the color rests on the canvas like a delicate veil. once the spectator steps closer to the images, he/she realizes the complexity and intricacy of the applied paint. every spot of the canvas is actually of a different color or receives a texture of its own through the multitude of applied colors. colors in the background constantly influence the appearance of individual image areas. this impression is supported by looking at the edges of the canvasses. it is especially here that the variety of colors employed by wonkun jun in the creation of his works becomes obvious. the colors forcefully penetrate to the outside and often pose a harsh contrast to the calm, sometimes almost meditative surfaces of his works.” (andreas beumers)

ivana juric
the identity of ourselves as individuals, understanding yourself and seeing others, keeping in mind the different starting points we often do not coincide. in the projet 'the room' ivana and fedor have played with these very different starting points to show the same motive-doll. while ivana through animation shows the doll denuded to the level of "vulgarity", fedor through the two-dimensional painting draw a softer, more relaxed side of the same person, and with thus provides a new identity.

roland maurmair
under the title “happiness is made for you” roland mauermair presents three spray cans which he has “refilled” with different sounds. he also shows a group of works including four new pieces on the subject of rust, which he produced specifically for the exhibition “ununseptium”. his piece “die information ist ein scheissdreck” and the rust imprint “idiot 15” refer to the text “idiot 1966” by konrad bayer. (wiener gruppe)

elisabeth moser
“hot and cold. modern decorative painting or mr. spock in las vegas. – if one thinks of reverse glass painting, the many votive paintings or paintings of the saints immediately come to mind. they mostly radiate a somewhat touching naivety. preferably, they smolder in a shadowy corner. painting takes place differently than usual, from the front to the back. the color presses up to the glass body, and, as if one presses one’s face up to a window, this can have a comic effect. this kind of painting requires flexibility and yet appears to be a bit clumsy. rich depth instead of sfumato. whistler probably would not have enjoyed this. however, i also dream of all kinds of pinball and slot machines, clanging and twinkling. every now and again, there’s an ace, but always hearts! the ball rolls, the wheels turn. the game continues. mesdames and messieurs, place your bets!” (michael ziegler)

alina parigger + bernhard riener
a snapshot taken in the interplay of order and chaos, the transformation of these diametrically opposed conditions and the tension between them, the creation of something new. in their first collaborative piece, alina parigger and bernhard rieder have developed a conceptually photographic position for ununseptium. an explosion.

karin pliem
in karim pliem’s works creatures from different ecosystems and global regions come together, forming gigantic images which touch the spectator in unexpected ways.

luis steinkellner

 

>> flyer 'ununseptium'

 

 

 

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