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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


The gallery owner Michaela Stock juxtaposes the classic white cube with the concept of the gallery as a forum for discussions about a virtually staged exhibition and at the same time questions it. The focus will be on a new perception of the exhibition space and the artworks displayed.

Both the space and the exhibited contents will be presented and thematized in a new way. In the future, presentations of current, contemporary positions from the fields of visual arts, architecture and literature are planned on a monthly basis. Michaela Stock is concerned with a stronger interdisciplinary approach to contemporary art, both in theory and in production. Fireside chats with experts from various disciplines complete the virtual exhibition.


SALON REAL

As soon as gallery visitors enter the first exhibition space, called SALON REAL, nothing reminds of a gallery space anymore. Insight you will find a cozy living room with sofa, carpet, curtains, and a fireplace. The entire interior reminds us of a Salon at the turn of the 19th and 20th century. Then and now, the salon is a social meeting point for intellectuals, business leaders and artists. In the future, in addition to the virtual exhibitions, "Fireside Chats" with artists, curators, collectors and scientists from various disciplines will take place here. Two fireside chats are planned per virtual exhibition. These fireside chats are documented on video and you can watch them on our "YouTube channel" at a later date.


Virtual exhibitions are documented in the form of printed information brochures, which are offered for free. At the same time, art lovers can purchase a limited and signed art poster from each exhibition.

SALON VIRTUAL


Next to the SALON REAL - in the second room of the gallery - is the SALON VIRTUAL located. Michaela Stock pursues the idea of including a virtual gallery in the real, empty gallery space in order to develop instruments on the one hand that connect the real and virtual space on the one hand and to fuse the digital and real worlds on the other. In the SALON VIRTUAL no more real artworks will be presented. Visitors explore the exhibition and artworks via the screen with a joystick. Although the visitors are still in the real gallery space, the exhibition is received virtually, in the "anonymous" white cube. 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. GUIDED STUDIO VISITS ON REQUEST


In the future, the artworks can be viewed with Michaela Stock in the artists' studio. Appointments can be made by phone +43 699 19 20 77 78.


CONCEPT

With her presentation concept Michaela Stock expands the concept of the institution gallery. 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. "My 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," comments Michaela Stock on her new gallery concept.


galerie michaela stock, Schleifmühlgasse 18, 1040 Vienna, Austria

3D Ausstellungen

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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: 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.

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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: 6# Sofie Muller | Movement of the heart

    21 Mar 2021 – 05 May 2021

    21.3. – 5.5.2021 Opening: Sunday, 21.3., 11am - 3pm galerie michaela stock Sofie Muller presents Movement of the heart, an international and global project, that introduces a new series of bronze sculptures. Imposed confinement can cause feelings of anxiety and distress. To combat these feelings, Muller developed her own ritual and collected sprouted onions during spring. On these onions she wrote or carved small intentions. She sculpted hearts around them in clay or wax and casted them in bronze. During summer, Muller continued this project during an artist residence in Palazzo Monti, Brescia. Being in this area, she took the opportunity to do extensive research to Leonardo Da Vinci's anatomic sketches and his theories on the human heart. 500 years later Muller humbly follows in Da Vinci's footsteps, conducting her own research to the heart, a universal symbol worldwide. The result is a new series of 150 bronze hearts. Each heart is unique. 10 galleries from Mexico to New Zealand, from France to Austria will present this new series of hearts simultaneously on March 21, 2021, the beginning of spring. This day marks the start of spring in Europe – a time celebrating new life – and the ideal moment to send out a positive message after a year of battling Covid-19. We will present 5 hearts in Salon Real and Salon Virtual. The pandemic has heightened environmental awareness all over the world. For this reason, Sofie Muller has decided to get involved in reforestation by supporting the non-profit organization "one tree planted". For each bronze heart sold, a portion of the proceeds will be donated to this organization, and with each heart sold, approximately 50 new trees will be planted. We needlessly pollute the fair bosom of our mother earth, rip out her trees to feed our short sighted greed, turning our fertile earth into a sterile desert. Dalai Lama, The Sheltering Tree of Interdependence, 1993 participating galleries: Geukens & De Vil (Antwerp/Knokke, Belgium) Fox Jensen(Sidney/Auckland) Proyectos Monclova (Mexico City, Mexico) Tardino6 (Bakoe, Azerbaijan) Galerie Michaela Stock (Vienna, Austria) Gallery Maskara (Mumbai, India) Palazzo Monti (Brescia, Italy) Gallerie Italienne (Paris, France) Martin Kudlek, (Cologne, Germany) Galeria Biala (Lublin, Poland)

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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

    10 Jan 2022 – 31 Mar 2022

    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 will be shown 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 will be 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

    neueste Werke

    • Marko Zink

      Gas Chamber 4, 2019
      15 x 22 cm (h x w)
      analog photography
    • Marko Zink

      Gas Chamber 3, 2019
      15 x 22 cm (h x w)
      analog photography
    • Marko Zink

      Gas Chamber 2, 2019
      15 x 22 cm (h x w)
      analog photography
    • Marko Zink

      Gas Chamber 1, 2019
      15 x 22 cm (h x w)
      analog photography
    • Marko Zink

      Marbacher Linde, 2019
      132 x 92 x 2 cm (h x w x d)
      analog photography
    • Evelyn Loschy

      untitled [kinetic sculpture #4], 2015
      30 x 20 cm (h x w)
      # photography
      1200 EUR
    • Evelyn Loschy

      DECOUPLING, 2012
      Video
    • Evelyn Loschy

      FRICTION, 2021
      # video
    • Evelyn Loschy

      UNTITLED (kinetic sculpture #5), 2022
      kinetic sculpture
    • Evelyn Loschy

      IS IT ME, 2010/15
      kinetic sculpture
    • Evelyn Loschy

      untitled [kinetic sculpture #4], 2012
      kinetic-autodestructive sculpture
    • Laura Fitzgerald

      Small holder, 2021
      25 x 32 cm (h x w)
      pen and sharpies from Tescos on Alan Phelan Archival Paper
      850 EUR
    • Laura Fitzgerald

      Too Big Series, (View of a bit of a fancy field), 2020
      37 x 49 cm (h x w)
      Sharpie markers on offer in Eason's on Katie Watchorn paper
      1100 EUR
    • Laura Fitzgerald

      Too Big Series, (Awkward hayshed), 2020
      37 x 49 cm (h x w)
      Sharpie markers on offer in Eason's on Katie Watchorn paper
      1100 EUR
    • Laura Fitzgerald

      Beehive hut to hide in, 2020
      28 x 33 cm (h x w)
      pen & shite marker on Alan Phelan fancy archival paper, inside fancy frames by David Kirwin
      850 EUR
    • Laura Fitzgerald

      Beehive huts to hide in (after), 2020
      28 x 33 cm (h x w)
      pen & shite marker on Alan Phelan fancy archival paper, inside fancy frames by David Kirwin
      850 EUR
    • Laura Fitzgerald

      Soft hands, 2021
      25 x 32 cm (h x w)
      pen and sharpies from Tescos on Alan Phelan Archival Paper
      850 EUR
    • Laura Fitzgerald

      Silent stack, 2021
      25 x 32 cm (h x w)
      pen and sharpies from Tescos on Alan Phelan Archival Paper
      850 EUR
    • Laura Fitzgerald

      News from back the road, 2021
      53 x 212 cm (h x w)
      Tesco sharpies on IKEA Male roll bought from Amazon because IKEA wouldn’t deliver to Kerry, 2 fancy copic markers from Evan’s Art Supplies (web order)
      4300 EUR
    • Laura Fitzgerald

      Potential site of a disaster (or something good), 2019
      99 x 122 cm (h x w)
      Oil, household and blackboard paint, marker on board
      2700 EUR