galerie michaela stock

galerie michaela stock

galerie michaela stock

galerie michaela stock

SALON REAL / VIRTUAL

a new gallery concept real vs virtual

https://linktr.ee/Salon_Real_Virtual

EN ///

The focus is on a new perception of the exhibition space and the artworks displayed in a real and in a virtual world. Both the space and the exhibited contents will be presented and thematized different. The aim is to enable art lovers to visit the exhibition non-stop 24 hours a day, even from their own computer, cell phone or tablet.

Visiting the real exhibition, visitor can compare the real show with the virtual staged 3D exhibition with a tablet, while standing in the real gallery space. The gallery acts as a cultural place with creative quality and economic sustainability in both virtual and real space. "The focus is on the interlocking of the real and virtual worlds and their combination of acoustic, visual and haptic stimuli."

The goal is to dock the real world more strongly and actively at the interface to the virtual world in order to set new approaches and work processes in motion and in this way to further develop interactive media art.

DT ///

Im Mittelpunkt steht eine neue Wahrnehmung des Ausstellungsraumes und der ausgestellten Kunstwerke in einer realen und in einer virtuellen Welt. Sowohl der Raum als auch die ausgestellten Kunstwerke werden anders präsentiert und thematisiert. Ziel ist es, Kunstliebhabern zu ermöglichen, die Ausstellung rund um die Uhr zu besuchen, auch von ihrem eigenen Computer, Handy oder Tablet aus.

Beim Besuch der realen Ausstellung kann der Besucher die Ausstellung mit der virtuell inszenierten 3D-Ausstellung direkt mit einem Tablet vergleichen, während er im realen Galerieraum steht. Die Galerie fungiert als kultureller Ort mit kreativer Qualität und wirtschaftlicher Nachhaltigkeit sowohl im virtuellen als auch im realen Raum. "Der Fokus liegt auf der Vernetzung von realer und virtueller Welt und deren Beeinflussung von akustischen, visuellen und haptischen Reizen. "

Ziel ist es, die reale Welt stärker und aktiver an der Schnittstelle zur virtuellen Welt anzudocken, um neue Ansätze und Arbeitsprozesse in Gang zu setzen und so die interaktive Medienkunst weiter zu entwickeln.

galerie michaela stock
1020 Vienna, Austria

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SALON REAL / VIRTUAL: 5# Veronika Merklein | Der wunde Punkt

12 Feb 2021 – 25 Mar 2021

>>>Deutsch drunter

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SALON REAL / VIRTUAL: 3# Sandro Đukić | Road movie

07 Nov 2020 – 14 Jan 2021

SALON REAL / VIRTUAL 3# Salon: Sandro Đukić| Road Movie 7.11. – 3.12.2020 Opening: Saturday, 7.11., 11 - 17h Timeslot every 15 min / one by one person/ come and go Two fireside chats are planned with Sandro Đukić / TBA In the third edition of Salon Real / Virtual, works by the Croatian artist Sandro Đukić are on display. As a new-media artist he always deals with co-relations of different media such as photography, video, computer-processing, storing, documentation and archiving data, that resemble reality exposed to this process of photographing and disclosing through media. In the show Road Movie the artist's gaze is not only turned inwards but also directed to what is easily overlooked to the unspectacular and his analog and digital photos become documents of the past and present moment. By doing so, he applies different layers and meanings of space. Furthermore, he refers in his work to the questions of time, durance and transience. In Salon Real Sandro Đukić shows photographs out of the series Correlation of inner images. These works demonstrates the transience of the body, relationships to other people, as well as the “inner life” of human beings and deals with the difference between image and reality, focus lies on the subjective inner reflection of the reality. The digital exhibition in Salon Virtual highlights the analogue photo series Road movie by Đukić.The monumental black and white images depicts the Icelandic landscape photographed during the artist’s residence in 1992. In order to document his adventure, Đukić took with him two disposable cameras with a small number of shots and two black and white films. Sandra Križić Roban describes his working method as follows: “Sandro’s documentation of his travels seems to have come about without a previous plan: what drives him is an obsessive and compulsive habit in which many things look similar at the first glance. This time he was concentrated on every single shot, deliberately relying on aesthetics, on the visual impressiveness of the landscape, whose lasting qualities he did not have to prove by manic, continuous shooting of almost every experienced moment. Above all, during the shooting he was interested in the exploration of a pure, reduced relation to oneself, nature, and adventure.“ It seems as if the photographs from his series profit from absence of that which characterizes cinematography, like lasting, real time and narration. Đukić`s chosen approach points to many things in the photographs we cannot see and our certainty in what we see is questioned. The naked and lonely panoramic landscape conveys a new experience of space. The spatial proportions the images are unique, nature dramatic and at first glance free of existential elements. This can be interpreted as pure existence freed from any narrative elements and knowledge. Đukić refers in the monumental images of the Icelandic landscapes directly to the context of the road movie aesthetics as a visual and intellectual point of departure and remember us of Wim Wender’s movies. His landscapes mediate certain graveness, a personal experience that cannot be retold and in front of the viewer stretches a desolate and uncommunicative terrain. The road navigates us by a singular vision of space and time, and the possible means, we might use to travel between them, which exist just outside of our present reality. This road is the space of life in Đukić`s photography of the longue durée - it is the landscape upon which the lone journeys of individual lives take place and intersect. What the viewer sees is only a desolated and uncommunicative terrain, a “floating” place where the narrative lies. Curriculum Vitae The Croatian New Media artist, Sandro Đukić studied with Đuro Seder in Zagreb, with Nan Hoover in Düsseldorf and Nam June Paik in NY. Being a New Media artist, he not only deals with the changing relationships of media such as photography and video, but also with computer-controlled mechanisms like saving, documenting and data storage of reality. He swiftly changes between the afore mentioned media - from spatial, architectonic and photographic installations and constructed films and, at the same time, creates several levels of meaning as concerns space. Đukić is primarily interested in the phenomenon of time and he tries to track down its duration and its circle. But he also explores the change of technological paradigm as well as deindustrialization. For the past 20 years, he has dedicated himself to the re-search in and of archives and the multimedia presentation thereof.

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SALON REAL / VIRTUAL: 8# Ingrid Cogne | CAUSER

08 May 2021 – 16 Jun 2021

SALON REAL / VIRTUAL 8# Salon: Ingrid Cogne | CAUSER 8.05. – 16.06.2021 Opening: Saturday, 8th of May, 11 – 19h Sunday, 9th of May, 15 – 19h one-by-one, come and go every 15 min FIRESIDE CHATS 3 one-to-one meetings with Ingrid Cogne will take place in Salon Real. You are welcome to book one of these private exclusive conversations with Ingrid Cogne by contacting info@galerie-stock.net (prices on demand). Each conversation will lead to the conceptualization of a specific artwork by the artist: a trace of the encounter that will be given to the protagonist who purchased one of the three formats – be it #9, #18, or #45. SALON REAL / VIRTUAL In the 8th exhibition of the series Salon Real / Virtual entitled CAUSER, works by French artist and researcher Ingrid Cogne are displayed. Cogne likes to question im/materiality and in/visibility, be it of knowledge or practices as well as their activations, translations, relationalities, and circulations. Ingrid Cogne uses choreography to create movement and suspension and time, positioning, and displacement in relation to Economy, Knowledge, Work, and Individuals. Her work problematizes the dramaturgy of existing or created situations. With soft provocation for movement in representations and structures, the artist likes to shake and shift perceptions, projections, and perspectives and conceptualizes artworks in the form of sculptural articulated objects in movement, expanded choreographies, artistic researches, and books. In CAUSER, moving and wording are intertwined and engaged into articulation(s). “Causer” is a French verb that has the double meaning of “being the reason of” or “having an informal talk”. Playing with words and wordings is a central theme within Cogne’s oeuvre. With CAUSER, she embraces the double space of Salon Real/Virtual by exposing a selection of her artworks and offering to the visitors an insight into her current arts-based research called The Dramaturgy of Conversation. In SALON REAL the visitor encounters the site-specific sculptural object Rond de Jambes. The piece, made of Acrylglas, is nearly invisible and corresponds to the outer edges of the table. The artwork is composed as a site-specific communication tool between the chairs, the round table, the gallery, and the visitors in the real space. In addition, Cogne brings into play the format conversation with a series of one-to-one encounters titled #9, #18, and #45. SALON VIRTUAL impresses with a minimalistic, colorful room, wherein 3 pieces of the series SETTING—SEATING—SITTING are on display. These artworks retrace Cogne’s process of occupation of a virtual space in between fiction and reality and the dramaturgy of existing and new created situations. Bio Ingrid Cogne (Mag., M.S., PhD.) is a French artist and researcher based in Vienna. She works as facilitator, dramaturge, and researcher across the fields of choreography, visual arts, sciences, and academia. In 2015, Ingrid Cogne obtained a PhD with the research project Displacement(s) as Method(s)—developed in the contexts of the PhD in practice at the Academy of Fine Arts Vienna in cotutelle with the Centre d’Étude des Arts Contemporains at the University Lille 3. Cogne articulated her artistic practice into words by using the notions “situation”, “presence”, and “performativity” as filters to unfold her research between body, spoken, and written languages in a matrix composed of 5 methods, 3 practices, and the im/material art piece WORK (2015). The Arts-based research projects initiated by Ingrid Cogne are: The dramaturgy of Conversation (2019-24, Elise Richter PEEK fellowship) and Six Formats (2015-18, FWF, PEEK). Cogne is editor and co-author of the publications Dansbaren—The Mob without Flash (2016) and For and By Six Formats (2018).

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SALON REAL / VIRTUAL: 9# The Conceptual World of Ines Rieder / Visualizing a Women’s Studies Archive

19 Jun 2021 – 28 Aug 2021

#9 Salon The Conceptual World of Ines Rieder / Visualizing a Women’s Studies Archive The exhibition is part of an ongoing series entitled SALON REAL / VIRTUAL 19.06. - 28.08.2021 OPENING: 19.06. & 20.06.2021 Where: galerie michaela stock, Schleifmühlgasse 18, 1040 Wien WORKS BY Artists: Lilo Nein, Marlene Rodrigues,Elisabeth Schimana,Denise Schellmann, Nicole Suzuki Recital: Ensemble Airborne Extended Talk / Text: Margit Hauser, Ulrike Lunacek, Nina Schedlmayer, Petra Unger, Magdalena Vukovic Ines Rieder was a historian, author, feminist and journalist. Her focus was to reappraise, preserve, and make visible lesbian history. Ines Rieder was the resident-owner of Schleifmühlgasse 18. Ines Rieder died unexpectedly in December 2015. Born in Vienna in 1954, Ines Rieder fought against social injustice and the exploitation of both humans and natural resources, and for the rights of the disadvantaged. And she was a trailblazer who campaigned for research into Austria’s lesbian and gay history. She spent portions of her adult life in Berkeley, San Francisco and Sao Paulo before returning to live in Vienna. Among her greatest achievements was her dedication to making lesbian life and its historical background visible, and she emphasized the importance of researching and preserving its history, particularly in open-access archives. Her publications set an example for how to keep that history from being erased and they create opportunities for identification and critical analysis of lesbian personalities. Woman and AIDS, a book she co-authored in 1988, was the first to address that epidemic from a feminist perspective. The primary focus of her later writing and research was on creating biographies of twentieth century lesbians. After her sudden death, her personal and research papers were transferred to STICHWORT - Archiv der Frauen- und Lesbenbewegung in 2016 for cataloging and conservation. More than 74 archive boxes und 150 database entries comprise this private collection and make possible a comprehensive understanding of her writing and thought process, as well as her often years-long preliminary studies for a project. Thanks to this archive and the many autobiographical details it has revealed, her conceptual world can now be made visible in a multi-media exhibit. This exhibit is not just the story of an archive of a flesh and blood human, but should show us what happens if an archive, a site that preserves documents and knowledge, is not constantly replenished and thus ceases to exist. Artist Marlene Rodrigues, Ines Rieder’s life partner for many years, played a major role in creating this exhibit. This is her characterization of Ines’s conceptual world: „Her brain was better than any digital archive. It stored thousands of stories and so much knowledge, so many thoughts and ideas about the life and works of other women. Ines loved life and people, and she enthusiastically absorbed and archived things that change and the stories that go with that." Women who knew Ines Rieder or are now involved in her conceptual world, in the archive, have been invited to participate in this exhibit. Here the archive will be re-conceived, expanded and made artistically visible; and in spatial, temporal and social contexts it questions the boundaries of an archive itself, with reference to preservation, access and visibility. The newly created works – whether a poem, musical composition, video, text, performance or drawing – will bring to light the artists’ personal, internal “conceptual archive”. Due to the current situation, the exhibit is presented both in a virtual 3D gallery and in the actual exhibition space at Schleifmühlgasse 18 where artworks will be displayed together with some of Ines Rieder`s personal objects representative of her work routine. Talks, concerts and performances will take place in these rooms. Depending on the situation with the epidemic in June 2021, these individual events might also be videotaped without an audience and can be accessed via a virtual stroll between Schleifmühlgasse 18 (the building in which Ines Rieder lived) and the Stichwort Archive at Gusshausstraße 20. A women’s tour of lesbian-related sites in the neighborhood is planned with Petra Unger. After the close of the exhibit, all the newly created art works, videos, musical compositions, documents and the virtual exhibit will be transferred to the Stichwort Archive and they will also be accessible in the virtual gallery. In addition, a blog, a multi-page exhibition catalog, posters and video documentation of the talks, concert and performance will accompany the exhibit and can also be called up in the virtual gallery. Project team & partners galerie michaela stock & Verein zur Förderung der Kunst – Schleife 18 Marlene Rodrigues STICHWORT - Archiv der Frauen- und Lesbenbewegung goes art | channel TV visuelle Medienplattform Kunstmatrix, digitale Kunstplattform PROGRAM Saturday, 19.06.21, 5 - 10 pm Opening of the real and virtual exhibition. The artists will be present. Where: galerie michaela stock, Schleifmühlgasse 18 Sunday, 20.06.21, 11 am - 5 pm 11 am: Talk by Ulrike Lunacek, followed by conversations and coffee with the artists and couch chats till 5 pm Where: galerie michaela stock, Schleifmühlgasse 18 Thursday, 08.07.21, 6 - 8 pm LANDSCAPE, Recital by Ensemble Airborne Extended Elena Gabbrielli - Flute, Sonja Leipold - Cembalo, Caroline Mayrhofer - Recorder / Paetzoldina, Tina Žerdin - Harp, Alisa Kobzar - sound engineering Where: galerie michaela stock & Basement, Schleifmühlgasse 18 Monday, 12.07.21, 5 - 7 pm Womens' Walk with Petra Unger Walk in memory of Ines Rieder, tracing the history of the lesbian-feminist movement Saturday, 28.08.21, 2 – 7 pm Finissage and catalogue presentation Where: galerie michaela stock & Basement, Schleifmühlgasse 18 The exhibition will be rounded by fireside chats in the Salon, which will examine the conceptual world of Ines Rieder. More information and details will follow in due time on the gallery homepage. www.galerie-stock.net

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SALON REAL / VIRTUAL: 10# Marko Zink | In der Maschine

02 Sep 2021 – 29 Oct 2021

10# SALON Marko Zink IN THE MACHINE 3.9. – 29.10.2021 OPENING DAYS: PREVIEW, Thursday, 2.9., 6 - 9 pm Friday, 3.9. and Saturday, 4.9.: 12 - 7 pm invited by viennacontemporary invited by ROTLICHT FESTIVAL ELFRIEDE JELINEK & MARKO ZINK In 2004, Elfriede Jelinek received the Nobel Prize in Literature “for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power”. The voices in Marko Zink’s analogue photo series have a similar overtone. That is the reason why Elfriede Jelinek wrote two essays on the photo series “In the machine” (2002-2006) and “In the forest: tragedies” (2008-2010) for Marko Zink and recorded them in the in-house studio for him. 10# Salon: IN THE MACHINE The new exhibition of Marko Zink opens on the 3rd of September at michaela stock gallery. The exhibition is part of the ongoing SALON REAL / VIRTUAL salon exhibitions. While four selected analogue photographs are displayed at the gallery’s real space, Zink uses the virtual salon for the complete cycle of the photo series “In the machine” and “In the forest: tragedies”, staging and contextualising them with the two texts by Jelinek. THE SETTING For the photo series “In the Machine” Marko Zink gained access to vacant rental properties without permission and hid in appliances and furniture in the apartments. This secret activity is reflected in the photographs, which appear white and sterile. The machines and furnishings shown spit out the artist’s body parts. However, it often also seems as though they swallowed the artist and the remaining limb stood in contrast to the respective machine. Jelinek describes this condition: “The machine doesn’t pass anything on; it is an executive organ from which human organs sometimes protrude in some places; because this human won’t fit completely into the device and his organs not into his body, he has partially remained outside. In part, he had to stay outside. In order to at least retain his humanity outside the door?” It shows an insatiable, futile human desire to adapt, which is often a forced way of fitting into a predefined de-social space. MAIN MOTIVE OF MONTH OF PHOTOGRAPHY The analogue panorama photographs “In the forest: tragedies” had already been chosen as the central theme of the Photography Month in Vienna in 2010. In 2021, new works of the series “I never promised you anything” were added. Again, Zink addresses the doomsday scenario and celebrates a terrifying timelessness using hybrid creatures and vegetal ambiguities, more topical than ever. Jelinek says: “Are those animals? No, they are we-ings, but with interspersions of animals. Animals without power fantasies, which only humans have.” What unites the photographic works of Marko Zink are staged, empty rooms and an apparent transience of everything existing. The works shown are of a performative and transient nature; the carrier material, analogue film, is cooked before exposure and also dissolves after a while. This is not only an important artistic concept of Zink but also his unique signature with a high recognition effect. VINYL TALKING POSTCARD ELFRIEDE JELINEK Vinylograph Vienna produced a vinyl sound postcard for the exhibition IN THE MACHINE. This rectangular vinyl record, which can also be sent as a postcard, shows a machine work by Marko Zink as a cover. On the vinyl itself – and that is a world premiere – the Nobel Prize laureate can be heard reciting the text for Marko Zink. This TALKING POSTCARD will be available in a strictly limited edition with a signed photograph of Zink. SCHAUSPIELHAUS GRAZ Marko Zink directed a video with this TALKING POSTCARD at Schauspielhaus Graz for the virtual showroom. A lone record player is sitting on the stage, with Jelinek’s record turning on it. The auditorium is empty, so is the stage. Instead of human actors, a machine enters the stage. Starting with the 1st of October the new play “Das Licht im Kasten. Straße? Stadt? Nicht mit mir!!“ by Elfriede Jelinek will premiere at the Schauspielhaus Graz. Zink’s video “in the Machine” will be presented on site at the same time.

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SALON REAL / VIRTUAL: 11# A NI MAL NI FESTO

12 Nov 2021 – 08 Jan 2022

11# SALON A NI MAL NI FESTO from the exhibition series SALON REAL / VIRTUAL 12.11.2021 - 08.01.2022 participating artists: Patrick Baumüller, Kati Bruder, Ingrid Cogne, Sandro Đukić, Marko Marković, Veronika Merklein, Christiane Spatt, Viktors Svikis, Slaven Tolj, Marko Zink WHEN: OPENING: Friday, 12.11., 18 - 22 h WHERE: galerie michaela stock, Schleifmühlgasse 18, 1040 Vienna The animal has always been a companion and servant of human beings, and equally an object in the visual arts. The new exhibition A NI MAL NI FESTO from the series SALON REAL/VIRTUAL at michaela stock gallery shows different strategies of visualization. Thereby the 'overlooked' or the 'other' animal is made visible and it does not deal with the anthropomorphization of animals or zoomorphization of humans as usual. The different artistic confrontations such as photography, video, drawing, sculpture, and painting, exploring the relationship between humans and animals and present 'the animal' as an equal counterpart. Although the exhibited works follow one theme, different confrontations are shown. In the process, the animals become objects of contemplation. At the same time, they become actors in movements, they serve not only as a projection surface, but also help to shape the work. The animal is questioned from political, historical, socio-critical and emotional motives. The exhibition title A NI MAL NI FESTO is taken from the manifest written for the exhibition by Ingrid Cogne and María Antonia González Valerio. SALON REAL / VIRTUAL is an exhibition combination between real vs virtual. Artworks are presented both in a virtual 3D gallery and in the real exhibition space - at Schleifmühlgasse 18. The concept of the salon as a forum for discussions about a virtually staged exhibition is juxtaposed with the classic white cube and questions it at the same time. There will be weekly salon evenings with the artists in November and December. A NI MAL NI FESTO Manifest by Ingrid Cogne and María Antonia González Valerio, 2021 “Is this a place for all animals? How can we become an animal being an animal that is not an animal? And what about those ones that may eat us? Or that may eat each other? Or that may eat everything that there is? Or that don’t want to be here? Or that have already disappeared? Or…? Can animals fall into historical categories? What are animals through history? The invention of themselves via storytelling? Hasn’t art been too soft, too polite, too western, too exaggerated, too naïve, too stupid, too capitalist, too fond of the disneylandization of the animal, too ridiculous in its contemporary approach to the animal subject? There is no such thing as a universal idea of a city. There, the animal also lives. There is no such thing as a universal idea of an animal. There, the animal also lives. YOU, fellow animals must strive to make the planet a sustaining place for all beings. Animalship is needed. Are we all blue-collar workers? Beast living bodies’ bestiality! This is a testing vs. a tribute to animality. This is another mistake, a token of the impossibility to grasp the animality as animals.”

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SALON REAL / VIRTUAL: 12# Evelyn Loschy & Laura Fitzgerald

22 Jan 2022 – 27 Mar 2022

12# SALON EVELYN LOSCHY & LAURA FITZGERALD Tickling a sensible space from the exhibition series SALON REAL / VIRTUAL 22.1.2022 - 27.03.2022 OPENING: Saturday, 22.01., 16 - 20 H silent opening MIDI-VERNISSAGE Saturday, 26.2., 16 – 22 H The artistst are present. FIRESIDE CHAT: Saturday, 26.02, 18 - 19 H Helen Carey (Fire Station Artists' Studios) in conversation with Evelyn Loschy and Laura Fitzgerald WHERE: galerie michaela stock, Schleifmühlgasse 18, 1040 Vienna Tickling a sensible space The issue of identity is often a sensible space. Identity is the way we perceive and express ourselves as individuals, as a society, or as a nation. Space whether, real, virtual or imagined, is crucial in constructing new enviroments for artistic communties, allowing them to explore and promote new values in society. Opening this space through the production of artworks, allows questions to be asked of stereotypes, conventions, gender issues, sexuality, race, nationality and heritage. The exhibition titled “Tickling a sensible space” presents two young female artists. Evelyn Loschy from Austria and Laura Fitzgerald from Ireland. Both artists have different backgrounds, education and working conditions, but explore the same topic: identity and it’s representation in socio-cultural spaces. This investigation, into the shifting ecology of identity, allows the artists to propose alternative questions to where our place is within contemporary culture. Laura Fitzgerald searches for her identity through the family farm in County Kerry, Ireland. Highlighting comparisons between rural identities and the work of an artist. She probes in a satirical way, the difficult task of being an artist through drawings, videos and sculpural-virtual sound installation. Evelyn Loschy prompts the viewer to question at what point the self becomes other. New works such as a kinetic sculpture and a performance / video deals with identity and thematically intersect to sharpen one's view of the complex processes of the human being . They appear to lose their original form and confront the visitor with the view on behaviour of human beings and the visualisation of the innerself.

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Marko Zink: M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E

16 Dec 2022 – 16 Apr 2023

Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E The internationally acclaimed exhibition M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E by Austrian artist Marko Zink was shown in 2019 at galerie michaela stock and at the Mauthausen Memorial and 2021 at Bildrecht Vienna. In 2022, the exhibition was on view at MSU Zagreb and then in Osnabrück as part of the Week of Fraternity under the annual theme "Fair Play - Every Person Counts". The exhibition was shown simultaneously in three places in Osnabrück: in St. Katharinen, as well as in Dom St. Petrus & Nikolauskapelle and in Felix Nussbaum Haus / Vertikales Museum in the Osnabrück Museum Quarter. The exhibition title could not be more objective: M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E are the coordinates for Mauthausen. What interests Marko Zink is not documentation but irritation. He forces viewers to look carefully, opening up a multilayered debate. Using the medium of photography, he attempts to make a twofold disappearance visible: the extermination of people and the eradication of memory. It is an intensive engagement with a past that will not expire. The medium chosen by Marko Zink is analog photography. He manipulates the material before exposing it: He boils it or stamps it, treats it with chlorine or ink eraser. Using this delicate material, he photographs selected sites in and around the former concentration camp. Sometimes Zink's works seem like found historical photos, taken quickly and in secret, bleached by the sun, half destroyed by the ravages of time. On a separate plane, the photos' injuries seem to give an account of the atrocities that took place there less than eight decades ago. And sometimes they seem to make visible what seemingly cannot be seen anymore. With his work, however, Marko Zink reminds us that this is still possible: that which remembers the past, and that which warns against what is to come – we can see it all. If only we want to. Wolfgang Huber-Lang

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SLAVEN TOLJ - Craquelure. Pavo and me, Location: Sala Urbana / Palazzo d'Accursio

25 Jan 2023 – 05 Mar 2023

Slaven Tolj Craquelure. Pavo and me curated by Daniele Capra Collezioni Comunali d’Arte Palazzo d’Accursio, Piazza Maggiore 6, Bologna Exhibition 26 January – 5 March 2023 Performance Saturday 4 February 2023 7 pm Sunday 5 February 2023 11 am Closing Event / Guided Tour Sunday 5 March 2023 17 pm On the occasion of ART CITY Bologna 2023, the Collezioni Comunali d’Arte (Municipal Art Collection) is happy to host Craquelure. Pavo and me, solo show by Slaven Tolj. The exhibition, curated by Daniele Capra, consists of some fifteen sculptural and documentary artworks and the performance Bologna, February 2023, especially created for the Bologna museum, which will take place on Saturday 4 February 4 at 7 pm and Sunday 5 February at 11 am. The project is Tolj's first solo exhibition at an Italian public museum. Slaven Tolj's solo exhibition Craquelure. Pavo and me consists of some fifteen sculptural and documentary artworks and the performance Bologna, February 2023, conceived specifically for the Municipal Collection at Palazzo d’Accursio. The project is a condensed retrospective in which the exhibited works highlight Toly’s ability to positionhimself as an interstitial element between inner, interpersonal and political dynamics, thus developing an intimate narrative unfolded on a double track of personal life and expressive research. The exhibition is dedicated to photographer Pavo Urban, a friend of the artist who died in the war in Dubrovnik on 6 December 1991. Urban’s photographs from the Rosarium series are also on display, documenting a performance Tolj made in the Croatian city. Body art and conceptual art have always been at the core of Slaven Tolj’s work, from his beginning in the late 1980s to the most recent works, which bear witness to some vicissitudes following a stroke that undermined his linguistic abilities. His research, for that matter, is fueled by a persistent interaction with human and professional events experienced firsthand. Tolj’s visual experience builds on the experience of pain and all torments that tear existence apart, leaving it marked with deep scratches. As an artist, Tolj is an attentive being to the highest degree. He is not only capable of perceiving and recording, like a seismograph, the imperceptible variations of the human being,understood as a sort of complex telluric ecosystem, but he is also able to process this data, without taking any pathetic or fictional drift. Tolj's life and research have been marked by the historical events that led to the tragic breakup of Yugoslavia: from fratricidal war to the deaths of loved ones, and the deep political and social change that followed. In his artistic practice, as well as in his work as a curator and director of cultural institutions, the artist has acutely recorded the pervasive way in which consumerism and anthropological change penetrated society in the aftermath of the war. He also managed to render the drastic transformation of his city, Dubrovnik, due to the impact of mass tourism. Similarly, even strictly personal issues such as the transformation of his body acted as a fundamental lens for the artist to observe reality. His personal history, his body damaged by a stroke, the rehabilitation exercises to regain use of language, but also the difficulty in conveying his thoughts verbally: all this became the humus that generated new works. Yet, there is no exhibitionism whatsoever, as for him the body is an unrivaled instrument of investigation and detection, capable of probing, and then providing a poetic image of all the thunderstorms, the glimpses of light and the winds that stir the clouds of our lives. Tolj is straightforward and direct, showing his own intimate truth without compromise, even when he reveals deep and human fragility. Promoted by Galerie Michaela Stock, Vienna Supported by Kontakt Collection, Vienna In collaboration with Art radionica Lazareti, Dubrovnik Settore Musei Civici Bologna Musei Civici d’Arte Antica Part of ART CITY Bologna Opening hours Tuesday and Thursday 2 pm – 7 pm Wednesday and Friday 10 am – 7 pm Saturday, Sunday and bank holidays 10 am – 6.30 pm Monday Closed (admission closes 30 minutes before closing time)

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Viktors Svikis BIG ESCAPE

30 Mar 2023 – 29 Apr 2023

EN /// Sviki's Pop Cabinet The Latvian artist, Viktors Svikis, lives and works in Vienna and he shows his universe in large oil paintings - or is his univers just an exit strategy to find a safe (escape) route from reality. The exhibited works tell of isolation that surrounds people. Without judging, he tries to analyze what moves humanity and what world they are exposed to. The pictorial motif and the direct language in our society and their mutual, medial relations and demarcations are questioned. BIG ESCAPE gives not the answer in which direction one can flee and if there exists a possible solution to escape. With the finesse of an old master who uses pop-cultural language, Viktors Svikis paints collage-like everyday situations with varied and sometimes confusing themes, and he amalgamates alienating motifs and realities with subversive humor. The artist shows a shrill, colorful world: "Superman down with a pug, an isolated little girl in front of a wall, bird flu is staged with Hitchcock`s birds, Hello Kitty is no longer so pugnacious, atom bomb with baby face and Mary Stuart reloaded." The excellent classical training as painter in Latvia helps Svikis to show a virtuoso play with the possibilities of his language. His paintings stand between sculptural physicality, graffiti, and striking display signs. All pictorial levels together create a multi-dimensionality, this allows artworks to vibrate in moving suspension in terms of content and form. This also makes up his contemporary approach which is not based on him following modern trends but rather draws its inspiration from a current blend between virtual and natural reality as well as a combination of various levels of realities and their mechanisms. DT /// Svikis Pop Kabinett Der lettische, in Wien lebende Künstler, Viktors Svikis zeigt seine Welt in großformatigen Ölbildern - oder ist es nur eine Exit-Strategie, um einen sicheren (Flucht)Weg aus der Realität zu finden. Die ausgestellten Werke berichten von der Isolation, welche die Menschen umgibt. Ohne zu werten, versucht er mit seinen Mitteln zu analysieren, was die Menschheit bewegt und welcher Welt sie ausgesetzt ist. Das Bildmotiv und die direkte Sprache in unserer Gesellschaft und ihre gegenseitigen, medialen Beziehungen und Abgrenzungen werden hinterfragt. Bei der Ausstellung BIG ESCAPE ist es nicht klar, in welche Richtung es sich zu fliehen lohnen könnte und ob Flucht, wirklich möglich ist. Mit der Finesse eines alten Meisters, der sich der popkulturellen Sprache bedient, malt Viktors Svikis collagenartig Alltagssituationen mit variantenreicher und teils verwirrender Themenvielfalt, und er amalgiert entfremdende Motive und Realitäten mit subversivem Humor. Der Künstler zeigt eine schrille, bunte Welt: „Superman down mit einem Mops, ein isoliertes kleines Mädchen vor einer Wand, bird flue wird mit Hitchcock`s Vögeln in Szene gesetzt, Hello Kitty ist nicht mehr so kämpferisch, Atombombe mit Babyface und Maria Stuart reloaded.“ Die hervorragende klassische Malerausbildung in Lettland verhilft Svikis zu einem virtuosen Einsatz verschiedenster visueller Formensprachen. Seine Malerei steht in der technischen Realisation zwischen plastischer Körperlichkeit, Graffiti und plakativen Anzeigeschildern. Alle Bildebenen zusammen erschaffen eine Mehrdimensionalität, welche die Kunstwerke inhaltlich und formal in bewegter Schwebe oszillieren lassen. Dies macht auch seinen zeitgenössischen Ansatz aus, dass er nicht modischen Trends der Kunstszene folgt, sondern, dass er die aktuelle Verschmelzung von Virtualität und natürlicher Umgebung und die Verbindung verschiedener Realitätsebenen und ihrer Mechanismen zur Anschauung bringt.

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galerie michaela stock

SALON REAL / VIRTUAL: 7# Viktors Svikis | Candies and Stones

27 Mar 2021 – 05 May 2021

My mama always said, life is like a box of chocolates. You never know what you're gonna get. Forrest Gump The seventh exhibition series Salon Real / Virtual presents the latest large-scale oil paintings and drawings by Latvian artist Viktors Svikis under the title "Candies and Stones". As the exhibition title suggests, the works are seductively colorful and sweet at first glance, but upon closer inspection it is difficult to glean anything satisfying from the jumble of motifs depicted. Svikis' artistic strategy is based in particular on contrasts and psychoanalytical reflections on his previously experienced reality, which exist as such in the artist's mind in the course of the painting and drawing work process. In doing so the nature of the image and language in our society and their mutual medial relationships and demarcations are constantly questioned. Following in the footsteps of Winckelmann and Lessing, the artist addresses an old dilemma about the boundaries of painting and poetry. Although Svikis' works clearly reflect classical, painterly and drawing approaches, they are provocative with their collage-like design. In this point he appropriates the surrealist pictorial structure, allowing seemingly unrelated and alienating motifs and realities to exist on the same plane. From such a deceptive arbitrariness of motifs, patterns, and perspectives, a new, poetic narrative level of the artwork emerges. As in a surrealist dream, different pictorial levels coexist in parallel. According to the principle of dialectical thinking, Svikis' paintings and drawings live from opposites; in a field of tension between l'art pour l'art and engagement. Following his painterly impulse, Svikis strings confetti, underwear, chickens, mermaids, fish, turtles, bricks, etc. onto the canvas. He playfully and intuitively controls what is depicted during the working process. Individual themes revolve semantically around the title of the artwork, while their combinability and connection to each other leave more room for interpretation and reconstruction of the story. He develops ideas further, comes up with new stories and always over-paints. Svikis leaves it to the viewer to find his own story, because the reality of painting is not the truth. Mag. Jelena Grabovac Studio visit on request A studio visit with Viktors Svikis can be booked free of charge with the gallery owner Michaela Stock. Appointments can be made by calling +43 699 19207778. The virtual exhibition is documented in the form of printed information brochures. At the same time, art lovers can purchase a limited signed art poster for € 20,-. SALON REAL / VIRTUAL new gallery concept: real vs virtual The focus is on the interlocking of the real and virtual worlds and their combination of acoustic, visual, haptic stimuli. The goal is to dock the real world more strongly and actively at the interface with the virtual world, thereby setting in motion new ways of thinking and working processes and in this way further developing interactive media art. Fireside chats in Salon Real with experts from various disciplines complete the virtual exhibition.

exhibiting artists

• Veronika Merklein

• Ingrid Cogne & Milena Georgieva

• Christina Ryan-Öger Marlene Rodrigues

• Jesus Rivero / goes-art.com

• Marković Marko

• Laura Fitzgerald

• Patrick Baumüller

• Kati Bruder

• Ingrid Cogne

• Sandro Dukic

• Airborne Extended

• Natalia Gurova

• Evelyn Loschy

• Ulrike Lunacek

• Marković Marko

• Veronika Merklein

• Lilo Nein

• Nina Schedlmayer

• Denise Schellmann

• Elisabeth Schimana

• Ward Schumaker

• Christiane Spatt

• Nicole Suzuki

• Viktors Svikis

• Slaven Tolj

• Petra Unger

• Marko Zink

• Sandro Đukić

neueste Werke

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  Viktors Svikis

  Fuck this shit, 2022
  

  40 x 40 cm (h x w)

  Pigment Print on Epson Textured Natural

  280 EUR
• 

  Viktors Svikis

  mettagame, 2021
  

  130 x 170 x 4 cm (h x w x d)

  Oil on canvas

  7400 EUR
• 

  Viktors Svikis

  Heavy water, 2021
  

  140 x 130 x 4 cm (h x w x d)

  Oil on canvas

  6600 EUR
• 

  Viktors Svikis

  Seemingly, 2021
  

  140 x 130 x 4 cm (h x w x d)

  Oil on canvas

  6600 EUR
• 

  Viktors Svikis

  to kill the dragon, 2022
  

  170 x 130 x 4 cm (h x w x d)

  Oil on canvas

  7400 EUR
• 

  Viktors Svikis

  OMG!, 2022
  

  80 x 70 x 4 cm (h x w x d)

  Oil on canvas

  3700 EUR
• 

  Viktors Svikis

  something missing, 2023
  

  120 x 120 x 4 cm (h x w x d)

  Oil on canvas

  5900 EUR
• 

  Viktors Svikis

  so cute, 2023
  

  125 x 110 x 4 cm (h x w x d)

  Oil on canvas

  5790 EUR
• 

  Viktors Svikis

  Maria Stuart, 2023
  

  130 x 170 x 4 cm (h x w x d)

  Oil on canvas

  7400 EUR
• 

  Viktors Svikis

  body language, 2023
  

  170 x 130 x 4 cm (h x w x d)

  Oil on canvas

  7400 EUR
• 

  Viktors Svikis

  good old times, 2022
  

  140 x 130 x 4 cm (h x w x d)

  Oil on canvas

  6600 EUR
• 

  Viktors Svikis

  bird flue, 2023
  

  140 x 130 x 4 cm (h x w x d)

  Oil on canvas

  6600 EUR
• 

  Slaven Tolj

  Community Spirit in Action, 1998
  

  Video
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  Slaven Tolj

  Performance, Bologna February 2023, 2023
  
• 

  Slaven Tolj

  exhibition view 2, 2023
  
• 

  Slaven Tolj

  exhibition view 1, 2023
  
• 

  Slaven Tolj

  "11.9.2001", 2001
  

  video-still
• 

  Slaven Tolj

  Destiny - excavations from Flora’s Garden, 2022
  

  500 x 80 cm (h x w)

  mixed media
• 

  Slaven Tolj

  Koordinacija Dubrovnik / Coordination Dubrovnik (Tattoos of Lazareti), 2004
  

  24 x 24 cm (h x w)

  Baryta Photo
• 

  Slaven Tolj

  Bez naziva / Untitled, 1997
  

  30.6 x 20 cm (h x w)

  Lambda print