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tu-fr 11-18, sa 10-13
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7 pm

christine s. prantauer

christine s. prantauer presents the wallpaper 'protest:athens 2014', in which she places four images of loukanikos, the dog that caught people's attention during the demonstrations in athens from 2010-2014 and that became one of the symbols of the protest movement. the dog is painted in watercolours, the surroundings collaged and drawn. showing a protest in athens, the wallpaper in a way forms the background on which the contents of the four smaller works play out.
she also shows the series 'urban texture, transfer athens-innsbruck' which displays three views of innsbruck that have been spliced with athenian graffiti from the past few years that feature political content. in the original typography, detached from the local murals and walls, the slogans and proclamations come to represent a different kind of public protest against the effects of the austerity measures decreed by the eu. these graffiti, kept in english and thus not only appealing to greeks, are directed at cuts in social services, privatization, wage and pension reduction, unemployment ... their digital transfer to innsbruck creates a connection between austria as a eu country and the cuts in social services decreed by the european union. then again, the series also refers to greece as example  in terms of the quote by greek architect manuel gogos: "i see greece as a kind of frontier state of our financial system. what we experience in greece today will soon become visible elsewhere."
what is also shown in the series 'nothing beside', which depicts some of the most important financial centers (frankfurt, london, tokyo ...) in connection with various sections taken from world maps. the individual countries and continents are both background of the financial centers permeating the states themselves. the architectural homogeneity refers to the globally dominant capitalistic economic system. the work itself addresses globalization and capitalism as the internationally prevalent economic system  - apparently, there is nothing beside.

christopher grüner

 "... of course, it is never language itself, language per se, that is at work here, but always an ego narrating from the peculiar perspective of his or her existence, an ego concerned with contour and orientation. reality isn't, reality wants to be looked for and achieved ..." (paul celan/answer to a survey of the libraire flinker, paris 1958)
thinking systemically, making distinctions concerning form or its absence, recognizing, perceiving content and levels of relation, thinking spaces, drawing with superimpositions of single cuts and lines.
his work 'possible and probable views' is a specification of his work 'three communicating rooms' that he has been on his mind for many years. graphic areas (blue transparencies) and sharpie drawings with three layers corresponding to the three openings of the 'three communicating rooms', allowing inspection. minutes of an experimental setup.
the sequence of stretched transparencies results in a lucid body in the work 'rack', in which the idea of a rack has been drawn and cut.



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