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07/14/2016    finissage
7 pm

palme, stessl, eisenberger

"christian eisenberger is a man of few words and many ideas. he is someone who takes a hold of life up to his elbows. the reservoir he taps into is endless, as this reservoir is nothing less but the world in all its parts. eisenberger pursues his art in a serious (in contrast to ('ironic') manner of world appropriation, utilizing and transforming whatever a place might offer and what other people walk past without so much as looking at it. it is a world of simple things beyond their practical or exchange value, a chaotic universe of cardboard boxes, pornographic magazines, antlers, delivered postcards, played records, pine cones, cast of suspender belts, ultrasound images of fetuses, pictures of his grandfather and marilyn monroe, duck tape en masse, cut off hair, soundbites of passers-by and a whole lot of color, basically everything that exists serves as his material. well, but what for? for new parts of the world which belong to the operating system that is art. quirky stuff like concrete dachshunds on doe legs, christian crosses and both the star of david and communist stars made from bubble levels, 'good morning'-greetings out of cow dung, duck tape cocoons, which eisenberger slips out of, discards like a shed skin, fitting for his daily metamorphosis as an artist.
wherever eisenberger goes, the material for his works is already there. he always harvests it from his environment. whether outdoors or on a farm, downtown or in a museum, everything that is at hand is used, transformed, exploited. this is why all labels such as 'land art' or 'street art' do not apply, because eisenberger's constant artistic effort - even his daily work in the studio - resembles a continuous performance, whereby his work process becomes more important than the result. the artist often works in series, experimenting with ideas and materials until he tires of them and his works become increasingly casual and unformed. in his exhibitions he often returns to previous designs, varying and combining them with new influences, at the same time pushing both material and man to breaking point." (extract from 'on christian eisenberger and his art' by martin titz)

following his studies in music and art thomas palme took a creative break spanning several years and made a fresh start towards the end of the 1990s with graphics and videos which document his performances. the almost manic, perfectionist style of his large format graphite drawings, on which faces and grimaces bare their teeth, is characterized by the masterly change from the left to the right hand of the artist.

rené stessl lives in cologne and misses the mountains.

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