Die Sixtinische Kapelle Wiederaufgerollt Michelangelo versus Marina Abramović

The Snake von Marina Abramović

The Snake von Marina Abramović

Die Deutsche Version von die Sixtinische Kapelle Wiederaufgerollt
Michelangelo versus Marina Abramović ist nun fertig übersetzt und wird in den nächsten Wochen gelayoutet und anschließend gedruckt.

Ich bedanke mich recht herzlich bei der British Library in London, der Landesbibliothek Steiermark in Graz und der Sixtinischen Kapelle in Rom für die Unterstützung in der Umsetzung meines Buches, die Erlaubnis die Dokumente der Skizzen von Michelangelo zu Fotografieren sowie die Sixtinische Kapelle in Rom sowie die Originaldokumente von Michelangelo und den damals regierenden Päpsten in London zu transkribieren, zu übersetzten und zu lesen.

Alles Liebe und bis bald

Daniela Haberz, M.A.

Rechte Bilder Texte und Übersetzungen: Daniela Haberz, M.A. für AØH Art Consultancy Haberz e.U., Graz, Österreich Mai 2023

AØH Familien Stiftung Auktion/ AØH Family Trust Auction 2023

Bøker og Tresnitt by Anselm Kiefer at Astrup Fearnley Art Museum, Oslo 2018 by Daniela Haberz, M.A. for Astrup Fearnley and the artist

The auction for the foundation of the AØH Familienstiftung in Graz, Austria and subsequently the AØH Family Trust in London is readily prepared and will be conducted by the Dorotheum Graz, Austria on my behalf. The auction House in London is so far not yet finalised but an offer by the Dorotheum exists as well for our works in the collection in London, United Kingdom.

The art works from Austrian Contemporary Artists from the past two decades collected by myself as well as art books collected since 1995 will go on sale to benefit the foundation of the AØH Familienstiftung in Graz, Austria and the AØH Family Trust in London, United Kingdom and their goals lined out in the Trust, to support people in hardship and farther education for those with limited financial resources.

The Trust  will be the main goal of the AØH Art Consultancy Haberz from now onwards and exhibitions in due course are no longer planned, as the focus of our work shifts to research and writing art publications, which has been started in 2013 with publication of the first book on the Sistine Chaple and art publications on Evalie Wagner, Daniel Krammer, Rene Berghold, Anna Werzowa and Alfredo Barsuglia in limited edition of 60 copies each, numbered on the back except for the first Sistine Chaple book which had only 10 copies.

The new book on the Sistine Chapel in counter-position with Marina Abramović is finalised and some adaptions have to be made before publishing in print and will for the first time as well be published in Italian language besides our books being published in collaboration with the artists in German and English since 2019.

There are currently no online versions planned until finalisation, as copyrights need to be cleared previous to the publication. Furthermore, from my point of view a real book in limited edition is more precious than an online version.

The current research on Michelangelo’s letters started last year 2022 in May with a travel to the Sistine Chaple in Rome and the research at the British Library in July, October and November on original documents as well as previous research from books here in the Styrian State Library starting from May 2022 with my translations of all the material I could find in Graz, Austria at the Styrian State Library and the National Library in Vienna.

The evaluation of my transcriptions from London and translations for the last journey to London has taken place at the Styrian State Libarary in November/ December 2022 and January 2023 and will be the base for the next book and research under development titled Michelagniolo Uncovered – Michelangelo Buonarotti’s letters, presenting solely original material from Michelangelo himself, transcribed, translated and analysed by myself.

So far research has been conducted on approximately 22 original letters at the British Library, London with a current state of outcome of these letters to be made accessible to the public in a printed book and a Renaissance Italian audio blog which makes the transcription audible. The copyright or all the research is in hands of the AØH Familienstiftung headed by Daniela Haberz, M.A. and Rupert Christie.

To benefit the Trust however, in the future the online versions might be published after clearing all the rights and my Renaissance Italian Audio Blog is planned to be continued as well. So far two readings besides the first series of the blog took place read by myself in two different versions, the final version has been read once and a previous version has been read with background sound of an Icelandic waterfall photographed in August 2021 and Cornelia Parker’s work and Mark Rothko’s Segram Murals photographed in October 2022 at Tate Britain Gallery, London, United Kingdom. The photographs have been looped and the research been read with the background sound in memoriam of Peter Weibel as a spontaneous media art contribution.

We would like to thank our collaboration partners and artists over the past years for their kind support in realisation of the exhibitions here in Graz, Austria and London, United Kingdom.

Daniela Haberz, M.A. for the AØH Familienstiftung Team, Graz and AØH Family Trust, London, United Kingdom


Contact:

Daniela Haberz, M.A.
Schörgelgasse 32, 8010 Graz, Austria
E-mail: daniela.haberz1@gmail.com
Mobile: +43 676 952 0907
Mobile UK: +44 759 265 7030

Exhibition Closing Reception this Saturday 5th of November 2022 at 11 a.m. until 2 p.m. and Art Auction coming up in December 2022 – January 2023

As the exhibition at the Bell Tower on Schlossberg Mountain is coming to a close this week with the Closing Reception this Saturday, 5th of November 2022 from 11 a.m. until 2 p.m., we look forward to our third research period at the British Library for the next book currently in writing

Michelangelo’s Letters – Uncovered

to be published next year in October 2023 in AØH Limited Edition Art Books 2023

We would like to thank Giuseppe Vigneri for his assistance in the framework of his internship during the exhibition and wish him all the best for his future in the art world ahead. Thank you for all your hard work and effort Giuseppe. All my best wishes to you and your future endeavours!

The closing reception involves a short reading from the just finalised book by myself as the transcriber of Michelangelos’ original letters from my first two research periods in London at the British Library, the translator of the original manuscripts and the author of the finalised book

The Sistine Chapel Revisited
Michelangelo versus Marina Abramović

to be published in the series AØH Limited Edition Art Books 2022 in November 2022

All my best and see you all soon I hope,

Daniela Haberz, M.A.
Head of Board of Trustees for the Board

________________________

AØH Family Trust

Daniela Haberz, M.A. Head of Board of Trustees
Rupert Christie, Board of Trustees

Mobile: +44 759 265 7030

E-mail: stiftung@artconsultancyhaberz.org

Address Exhibition Space Austria:

Glockenturm Graz
Schlossberg 6
8010 Graz, Austria

Austrian Contemporary Art and International Counterparts – Sneak Preview

Glockenturm Graz
Schlossberg 6
8010 Graz, Austria

We would like to cordially invite you to the opening reception of Austrian Contemporary Art & International Counter-parts on Friday, 7th of October 2022 from 4.00 until 7.00 p.m. to the Bell Tower Graz Liesl in Graz, Austria.

Obstruction by Joseph Beuys, limited edition

We welcome to the team of AØH Family Trust, Graz, Austria/ London, United Kingdom the art historian and Assistant Curator Giuseppe Vigneri from Italy.

A short statement by Giuseppe to introduce himself as following:

My name is Giuseppe Vigneri, 23 years old, from Italy.
With great pleasure, I will work as an assistant under the guidance of Daniela with AØH Art Consultancy Haberz. I am excited to be supporting the team during exhibitions and new projects based in London, Vienna and Graz.

Sneak Preview:

Sneak Preview video tour first works on show at the Bell Tower Graz, Austria

As a Graduate in Art History and Cultural Heritage, I believe that my knowledge on the subject will allow me to actively support the team in achieving its goals. Despite coming from the Country which has the richest and most prosperous artistic heritage worldwide, my generation has grown accustomed to the idea that art is just a hobby. Daniela takes instead the art sector seriously, as her own work shows, and supports emerging artists in order to see their value recognized, making it possible to enrich the world with new perspective through their artistic contributions.

Giuseppe Vigneri, Assistant Curator AØH Family Trust, Graz, Austria & London, United Kingdom

The exhibition is open on Thursday & Friday from 2.00 till 6.00 p.m. and Saturdays from 11.00 a.m. until 2.00 p.m. until Saturday, 5th of November 2022 when we celebrate the closing reception from 11.00 a.m. until 3.00 p.m.

We are looking forward to welcoming you soon and all my best,

Daniela Haberz, M.A. & Giuseppe Vigneri

Austrian Contemporary Art & International Counterparts – Exhibition opening 7th of October 4.00 – 7.00 p.m. Bell Tower Graz, Austria

Book Deal #1 by British artist Johnathan Monk unique work to be printed on the wall in the given size.

The exhibition titled Austrian Contemporary Art & International Counterparts will be opening on Friday, 7th of October 4.00 – 7.00 p.m. at the Bell Tower Graz, Austria in the framework of Visiting Schlossberg Mountain 2022 curated by Daniela Haberz, M.A. for AØH Family Trust/ AØH Familien Stiftung.

The exhibition features Austrian Contemporary Art and international counterparts from the past three decades and will include an Art Auction to benefit the AØH Family Trust/ AØH Familien Stiftung, which focuses on help for those in precarious situations and education for less fortunate children as well as the ones of a befriended family in Great Britain.

If you wish to take part in the auction please RSVP under/ UAwg unter:

stiftung@artconsultancyhaberz.org

All my best for the AØH Family Trustee Board,

Daniela Haberz, M.A.

Wealth Manager for Assets within Art & Art Investment

Wealth Manager at AØH Art Consultancy Haberz e.U., Graz/ Vienna, Austria & Director of the Charity AØH Art Consultancy Haberz Limited (by Guarantee), London, United Kingdom

The Sistine Chaple Revisited 2022/2023

The Sistine Chaple Ceiling by Michelangelo Buonarroti June 2022

 

The Sistine Chaple Revisited. Michelangelo versus Marina Abramović showcases and counter-positions heritage artworks and monuments with contemporary art.

The preliminary beginnings were new notes about Michelangelo Buonarotti in relation to Marina Abramović alabaster sculpture work series Seven Deaths, photographed in October 2021 at Lisson Gallery, London, United Kingdom, who are the gallery representation of the artist.

Poison,  2020/2021 by Marina Abramović

Fire, 2020/2021 by Marina Abramović

Leap, 2020/2021 by Marina Abramović

Breath, 2020/2021  by Marina Abramović

Fire, 2020/2021  by Marina Abramović

Breath, 2020/2021 (Detail)  by Marina Abramović

 

 

 

 

 

Leap, 2020/2021 by Marina Abramović

Breath, 2020/2021 by Marina Abramović

Mirror, 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

 

The research on the Sistine Chaple Revisited is the second book on the Sistine Chaple in relation to contemporary Art after publishing The Sistine Chaple. Michelangelo bersus Jeremy Deller, 2013-2017 published in 2017 in the book series AØH Art Consultancy Haberz in a limited edition of 10 copies, numbered and with personal inscription.

Since 2021 the research on the Sistine Chaple has intensified once again and the first artist counterpositioned is Marina Abramović, solely with her above named sculpture series and furthermore contemporaries of Michelangelo like Pietro Perugino, Sandro Botticelli, Leonardo da Vinci amongst others.

Contemporary artists will include Olafur Elliasson, whose work is strongly related to Iceland’s nature, which this year in a short trip to Iceland documented the Fagradasfjall Vulcano in the midst of eruption bringing additional insight in a five hour hike into lands, that were unknown for me as a City only Walker so far even though used to 300 km walking in a month time it was a tough trail but once in a lifetime experience to see the magma coming from the centre of the earth spreeing out into the air. When photographing I held my breath and started to breath in when the lava was going down and breathed out when it flew into the air. Otherwise I would not have been able to calculate the eruption pace of the vulcano.

Fagradalsfjall Vulcano, Reykjavikgur, Iceland August 2022

Fagradalsfjall Vulcano, Reykjavikgur, Iceland

Fagradalsfjall Vulcano, Reykjavikgur, Iceland

Clearly related to Olafur Eliasson’s work Waterfall, 2019 shown  at Tate Modern, London and previously developed for a New York Commission at Hudson River are Icelandic waterfalls. The vulcano eruptions of Fagradsfjall in August 2022 however, can so far not yet been seen in Elliasson’s oeuvre, from my point of view, besides from his choice of colours and light therefore, further research is necessary into this side of his work.

Prime Numbers, 2022 by Franz Josef Haas

Franz Josef Haas is an emerging Austrian artist planned to be exhibited in the framework of Visiting Schlossberg Mountain 2022 showcasing his work series Prime Numbers, 2022 which visualise mathematical equations, only using prime numbers as a base for equations created by Haas.

Cold Dark Matter: An Exploded View, 1991 by Cornelia Parker

Cold Dark Matter: An Exploded View, 1991 by Cornelia Parker

Cold Dark Matter: An Exploded View, 1991 by Cornelia Parker

Further artists include Cornelia Parker, whom I saw at Serpentine Gallery, London in the late 90s and just recently documented her new work at Tate Britain, London whilst my first research period at British Library in July 2022.The floating parts of her sculpture are related to her work from the 1990s but orchestrated fantastically at Tate Britain with the perfect lighting to spread the suspended wooden parts towards the wall as shadows.

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Her work series of flattly walzed silverwear has reached another dimension as well in this recent display, which allows for visitors to walk around this one space, fully encompassing sculpture suspended from the ceiling and lit to throw the shadows onto the floor in a slightly distorted manner,  to allow for a surreal mise-en scène involving the visitor in Foucault’s sense of inhabiting and shaping space.

In a recent book I studied at the County of Styria Library the Julius Grave by Michelangelo was referenced with Foucault’s determination of space and as  having written and further developed Foucault’s On Heterotopia I could relate to the writer’s aspect and add my approach in the further notes for my book and further group exhibition The Sistine Chaple Revisited. Michelangelo versus Marina Abramović planned  for May 2023 in the framework of Visiting Schlossberg  Mountain 2023.

As in June 2022 a trip to the Vatican City located Sistine Chaple has been taken, upon seeing the described works and monuments from book research and thereby made preliminary written notes for the book have been necessary to be revised, so far there is no publishing in October 2022 as previously scheduled, in order to further research on original documents like started in July 2022 in London, after being admitted to the manuscript reading room at the British Library, London to transcribe and translate Michelangelo’s original manuscripts in Renaissance Italian language.

To learn how to read and transcribe Michelangelo’s handwriting in this today dead language took up to four to five months studying his handwriting and transcribing and translating thereinafter, with the help of an Italian Dictionary by now successfully in outcome.

The Sistine Chaple Ceiling by Michelangelo Buonarroti June 2022

The Sistine Chaple Ceiling by Michelangelo Buonarroti June 2022

The Sistine Chaple fresco Handing of Keys to Saint Peter, 1680/1681 by Pietro Perugino June 2022

The Last Judgement, 1534 by Michelangelo and his contemporaries June 2022

Accomplished so far were transcriptions and translations of five letters between one third and two A4 pages in length with kind permission by the British Library, London, United Kingdom, as well as deciphering the date of the letter, by means of a previously created time-line, which has been revised again after the first research period and added to, in order to allocate the exact date by means of the background biographical and work-related data accumulated beforehand.

As the letters were restricted material photographs were not permitted but I can say that my transcription as well as translations will be accessible in the book in their entirety.

The next step is waiting for permission to photograph the Sistine Chaple by the Musei Vaticani in Vatican City, Italy, upon their request to read my initial notes, in order to take a decision as well hear the decision for my request to become part of the Edizione Musei Vaticani.

To await the result of my application to the Sopraintendenza Archiologica in Toscana with regards to access to the original letters located at the Casa Buonarroti Archives as well as photograph the selected and discussed works in Florence & Rome, Italy and London, United Kingdom.

Furthermore, I look forward to the results of my funding application to the European Union in September 2022 and the participation approval by my chosen collaboration partners in this research endeavour.

The main goal is to shed new light on Michelangelo and his contemporaries as well as allocating the manuscripts date-wise to increase value of the collections evaluated. In addition raise the value of contemporary art by means of recommendation of the discussed artists and raising their provenance by means of the exhibition of the same title curated by Daniela Haberz, M.A. in Graz, Austria and London, United Kingdom as well as Vatican City, Rome, Italy.

Last but not least  heritage protected monuments will be shed new light upon to raise the finances needed to preserve them for posterity.

The Sistine Chaple Revisited. Michelangelo versus Marina Abramović is published in the art book series AØH Limited Edition Art Book 2022/2023 in a limited edition of 60 copies each, numbered by hand and with personal inscription in English, German and Italian language and is the seventh book in this series.

Looking forward to the results and wish me good luck for a successful outcome,

Daniela Haberz, M.A.

Wealth Adviser for Art & Art Investment & Curator and Author of the exhibition and limited edition art book

AØH Art Consultancy Haberz Limited (by Guarantee), London, United Kingdom

Wealth Management limited to the assessment in moveable assets within Art & Art Investment

Credit Images:  © Daniela Haberz, M.A. for AØH Art Consultancy Haberz Limited (by Guarantee), London, United Kingdom & Graz, Austria 2022 

All rights reserved October 2021 – August 2022

Head office:
AØH Art Consultancy Haberz e.U.

Gewerbliche Vermögensberatung, eingeschränkt auf die Veranlagung der sonstigen beweglichen Sachanlagen im Bereich Kunst und Kunstinvestment

Office AT: Schoergelgasse 32, 8010 Graz, Austria

Exhibition space AT: Bell Tower Graz

Schlossberg 6, 8010 Graz, Austria

Office UK: AØH Art Consultancy Haberz Limited (by Guarantee), London, United Kingdom

42 Princes Square, London W2 4AD, United Kingdom

Mobile AT: +43 676 952 0907

Mobile UK: +44 759 265 7030

E-mail: dhaberz@artconsultancyhaberz.org

Web: http://www.artconsultancyhaberz.org

Seven Deaths: The Leap, 2021/2022                                             by Marina Abramović                                                            Credits: Daniela Haberz, M.A. for AØH Art Consultancy Haberz Limited (by Guarantee),                 and for Lisson Gallery, London & the artist

The work series Seven Deaths carved into alabaster and lit from behind shows seven ways a person in this case impersonated by the artist herself can die. For me this series which was displayed at Lisson Gallery in London Cork Street, shows the possibility of a Leap, as inherent in the title, a Leap, which as well was the title of Lee Ufan’s so far unrealised sculpture intended to be displayed in public space as a permanent sculpture was conceived to be a jump by a jaguar cat into the river. The project is currently postponed and is planned to be shown in a different location later this year.

The Leap in Marina Abramović alabaster work clearly states, the way out for myself, it can be understood of a way out of the series of deaths thst are portrayed in the seven alabaster pieces which I reference in my book on the Sistine Chaple in juxtaposition with works on the Sistine Chaple ceiling. Three images so far have been analysed and the images in comparison with scenes in the book Die Sixtinische Kapelle by Antonio Paolucci published in the Edizioni Musei Vaticani can clearly be related to scenes from Michelangelo’s Chaple Ceiling. 

Another reason why I decided to write about this work by Marina Abramović is the current crisis between Ukraine and Russia who have signed a peace treaty on 25th of January 2022 to end the crisis in Eastern Europe.

The work Seven Deaths: The Leap, 2021/2022 seemed the perfect counterposition of a way out of the crisis without making it go into the wrong direction. Both presidents of Russia and the Ukraine have contested more than once that diplomatic conversations are possible, humanitarian aid has bern promised by most European countries as well as Great Britain, but in all of this internationsl turmoil this work by Marina Abramović shows and symbolises what everyone wants right now, the way out of a madness that is lit by half-researched information by the media, to pour oil into the burning barell we would say in Austria meaning that this way the situation can get worse by the wrong choice of wording.

The situation sounds all too familiar to me when I think of the gulf war years ago, where historians were employed to give their high valued opinion only to find out years later that they mis-interpreted the situation entirely.

I even thought of going to Russia myself to find out if the war is even happening or not as in many reviews and interviews given, I have analysed in the past weeks, the interviewees have heard something but no one saw anything.

The next day, several video clips were re-worked and talked over by commentators edited and cut in different manners, so that the original video could not be accessed again.

The only video that remained intact was by Reuters published by Sky News and had the signing of the peace treaty by president Putin and the two representatives of the Luhansk and Donetzk people at the end of it.

To keep me from worrying I have taken up chess games against myself in my spare time and with every game I play, the chess pieces seem to be a reminder that the crisis can not go any further, what would happen if these were real people I asked myself once when I stopped playing.

The theme I created for myself is: Every day is a good day for diplomacy.

I might not be talking Russian nor Ukranian but I am used to listen to English dubbing and translations and thereby can analyse situations which others might interprete wrongly as they keep listening to the beginning but loose interest or do not keep track reading subtitles. My point I am making is: Do not jump to conclusions when you haven’t heard the entire story.

This is the difference between art criticism where I can go back to a long lasting experience in viewing and reviewing art exhibitions but in this case with the crisis in Eastern Europe every word and facial expression counts.

Without that as a foreigner you are lost and rather not say a word about it as you might unleash something that you do not want to be involved in or might incur a reaction solely by mis-interpretation of the situation.

For me the signing of the peace treaty is the way into the right direction and I believe that all parties will adhere to it.

The mistake we should not make however, and this is vital, is to become yellow press and shout out paroles or unreflected headlines that scare the public or might just ignite that barrel I used as an analogy before-hand.

The people of Ukraine and Russia should not suffer under the crisis that should have ended before it began, they suffer and I would draw the attention to today’s report about Russian civilians suffering from the sanctions of the Western world, all those artists and poets as well as general public per se, They are people too and one-sided journalism and criticism does not help the situation. 

In my notes yesterday I said, flipping through a  local  newspaper and the accounts there, It seems that independant journalism is dead.

The main issue I see is thst every Eastern European citizen has their own account and approach to the story but we mustn’t forget that our grand-fathers grew up in fear of Russia as they participated in wars againts Eastern Europe, Still us today, we need to free ourselves from the past and adhere to the most principle rule, that everyone needs to be allowed to tell their side of the story otherwise one view is told but the other side is silenced as well as thereby the principle of democracy, free speech.

More about my second book about the  Sistine Chaple in comparison with contemporary art from 2017 until today which I have seen and reviewed  and curated myself in the past years to follow.

All my best wishes and keep an open mind,

Daniela Haberz, M.A.

Wealth Adviser for Art as Investment & Independant journalist

AØH Art Consultancy Haberz Limited (by Guarantee), London, United Kingdom

Today’s crisis – today’s opportunity – A diplomatic approach

Mirror Rooms by Yayoi Kusama @ Tate Modern, London

The Japanese artist Yayoi Kusama presented her show Mirror Rooms at Tate Modern in London, United Kingdom in the new wing of the gallery.

In her especially designed mirror rooms you could nearly loose yourself and since my review of her little mirror room in Heli Onstadt Museum in Oslo her installations have grown in the setting of Tate Modern Gallery on Bankside in the former power plant. 

Upon entering the space, you were welcomed by giant squids in the so called Turbine Hall in this building, formerly used to produce electricity.

In this sense the artist presenting the squids that floated up and down the enourmous entrance hall dragged us towards Kusama’s presentation in the upstairs galleries in the newly created wing of the adjacent building, added a few years ago for solo displays.

Kusamas’ works as always kept their promise of a mesmerizing experience, making us understand how her own psychological state, viewing dots everywhere feels like in the sligthest.

Even though we can not grasp, how it must be to constantly be surrounded by dots, never being confronted by the white sheet you might scream for after a while, we still are grateful that she shares her obsession and visual craze in such a poetic manner making us feel part of her world.

Here a small video to allow the experience to be shared here on my Art Consultancy website

Looking forward to your reactions please leave them in the comments!

With special thanks to Tate Modern for the press access and permission to photograph and film.

All my best,

Daniela Haberz, M.A.

Wealth Adviser & Independent Art Critic

AØH Art Consultancy Haberz Limited (by Guarantee)

Photo & Video Credits: Daniela Haberz, M.A. for AØH Art Consultancy Haberz Limited (by Guarantee).

Contact

AØH Art Consultancy Haberz Limited (by Guarantee)
Wealth Management limited to the assessment in moveable assets in Art & Art Investment

Mobile UK: +44 759 265 7030

Mobile AT: +43 676 707 4090

E-mail: dhaberz@artconsultancyhaberz.org

Web: http://www.artconsultancyhaberz.org

What Do We Need Art For? Between Austria & Great Britain

What Do We Need Art For, 2021 by AØH Art Consultancy Haberz Limited (by Guarantee)

Coinciding with the opening of AØH Consultancy Finchley Road Gallery, the first exhibition titled What Do We Need Art For? Between Austria and the United Kingdom is opening on Friday, 12th of November from 4.00 until 7.00 p.m. and invited four visual artist, a musician & a gallerist producing multiple art

Niki Passath, Elizabeth Pfniess from Austria and Reiner Langer based in Germany, Rob Ritchie from Scottland as well as British musician RCH, invited Curator of the Music & Film Programm and James Pidcock, Curator & Head of Grey Art Multiples, Paris, France.

The exhibition tackles an important topic as denoted in its title and often reflected upon and is inspired by the book with the same title documenting Jean-Luc Nancy’s lecture at State Academy for Fine Arts in Karlsruhe haven taken  place in the series Riemschneider Lectures published by State Academy of Fine Arts, Karlsruhe and Walther & Franz Koenig Books.

Why do we need art? Is it bringing us joy alone or simply distraction when engaging in art previews and parties, that are inherent or do we need it to feel more at home? When I travel, the first thing I do is put up art in my hotel room.

The above-mentioned book, documenting a talk by Jean-Luc Nancy came into my book collection, when wandering around Frieze Art Fair in Regents Park just recently and was ready for a break, deciding to get a book, fitting into my handbag to read over lunch.

This was the ultimate necessity I had at this moment and I purchased two books at my favourite book store Walther Koenig Books at the artfair.

In my role as a Wealth Adviser for Art, I hear all sorts of requests from: It should fit on a wall of three metres by two or have a certain colour. For me these wishes are not unusual and I understand that clients have their own approach to what they want.

Some might say, that clients with requirements like these, are not worthy to be followed up on, but I see it differently.

In the framework of the exhibitions a music programme for my Visiting AØH Balcony Series is created and the musician RCH has been invited to curate this part of the gallery programme. It is planned to take place regularly once a month or bi-monthly.

The art space AØH Consultancy Finchley Road Gallery is non-for-profit and is located in Finchley Road, London, United Kingdom.

Looking forward to hearing from you and all my best,

Daniela Haberz, M.A.

Curator & Wealth Adviser for Art as Investment

AØH Art Consultancy Haberz Limited (by Guarantee)

Mobile UK: +44 759 265 7030

Mobile AT: +43 676 706 7111

E-mail: dhaberz@artconsultancyhaberz.org

Kunst & Handwerk/ Art & Craft – Is it Real?

London Rowing Club in Putney at the River Thames

London Rowing Club in Putney at the River Thames

In a world that is dominated by certificates of authenticity and evaluators and professional assessers making a living from providing their appraisals, we need to call upon our senses and ask ourselves if the art is in the foreground or the provenance.

My mother most recently said, when I gifted my parents a Banksy: I don’t care if it is real or not I like the work!

I guess we should all take ourselves back a little and consider that it is about the artwork itself and the artist no matter who she or he is that matters.

Showcasing a young, Austrian leather bag designer Margarethe Breisach with her label Maggie B. Good in interview with myself as curator of the exhibition to be found below. Her website: http://www.maggiebgood.com

Furthermore we are currently in the middle of building a boat and present our current bi-lateral country endeavour to build a wooden rowing five boat in the framework of my new London project London Rowing Club in Putney at the River Thame Ladies & Gentlemen Club, which invites marginalised and socially excluded groups like homeless or mentally strained, to get together and build this Austrian-British boat, planned in Putney at the River Thames in my rowing club there.

The final location will be sent to those who are part of the team, later this year after signing up per Email or phone under my private contact details as below.

Those who are interested to join please sign up under: dhaberz@artconsultancyhaberz.org or call me under my British mobile phone: +44 759 265 7030

The exhibition Art & Craft – Is it Real in the Bell Tower Graz, will present results from past workshops in the series Art Ark/ Bridging by means of Art from 2019 and 2020 created into graffitis splattered around the towers corners and walls, certainly keeping the heritage in mind leaving no trace behind when we leave.

We look forward to welcome my favourite class 4.C which I teach since the second grade in workshops every year and look forward to welcoming the Akademische Gymnasium secondary school again this year.

We would like to thank our long-term sponsor Real Estate Department of the City of Graz and the Tourism Association for their funding support.

We are open Thursday & Fridays from 2.00 until 6.00 p.m. and Saturday from 11.00 a.m. until 2.00 p.m.

Last but not least I would like to welcome our new Head of IT George Kettele as well represented in the exhibition with a sound sculpture which was exhibited in London in August/ September 2021 this year.

For guided tours please get in touch under: dhaberz@artconsultancyhaberz.org or my British mobile +44 759 265 7030

Looking forward to seeing you all there soon,

Daniela Haberz, M.A.

Curator & Wealth Adviser for Art as Investment

Image Credit: by George Kettele for AØH Art Consultancy Haberz e.U.

Contact:

Daniela Haberz, M.A.

AØH Art Consultancy Haberz E.u.
Wealth Management limited to the assessment in moveable assets in Art & Art Investment

Head Office: Schörgelgasse 32, 8010 Graz, Austria

London Office: AØH Art Consultancy Haberz Limited (by Guarantee)

8-18 Inverness Terrace, London W2 3HU, United Kingdom

Office London:
8-18 Inverness Terrace, London W2 3HU, United Kingdom
 
Head Office Austria:
Schörgelgasse 32, 8010 Graz, Austria
 
Exhibition Space Austria:
Grazer Glockenturm/ Bell Tower Schlossberg 6, 8010 Graz, Austria
 
Mobile: +44 759 265 703

Multiple Art in Reykjavik, Iceland – In conversation with Multis Gallery Heads Ásdis Spanó & Helga Óskarsdóttir

Ásdis & Helga, Heads of Multis Gallery, Reykjavik, Iceland
Ásdis Spanó & Helga Óskarsdóttir – Heads of Multis Gallery, Reykjavik, Iceland

Interview with Multis Gallery’s power duo Ásdis Spanó & Helga Óskarsdóttir in the framework of the series AØH TV in conversation with Daniela Haberz, M.A. for AØH Art Consultancy Haberz, Graz, Austria/ London, United Kingdom about Icelandic artists and announcing our collaboration to exchange Icelandic, Austrian and British artists between our spaces in Reykjavik, Iceland; Graz, Austria and London, United Kingdom.

Ásdis Spanó & Helga Óskarsdóttir – Heads of Multis Gallery, Reykjavik, Iceland in conversation with Daniela Haberz, M.A. Head of AØH Art Consultancy Haberz, Graz, Austria/ London, United Kingdom

For further information aboutr Multis please check out their website under: http://www.multis.is

Looking forward to a long-lasting and fruitful collaboration with Multis and an exchange programme between Iceland, Austria and the United Kingdom between our art institutions.

All my best from Iceland,

Daniela Haberz, M.A.
Wealth Adviser for Art as Investment & Curator for Contemporary Art
AØH Art Consultancy Haberz, Graz, Austria/ London, United Kingdom

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AØH Art Consultancy Haberz Limited
Wealth Management limited to the assessment in moveable assets in Art & Art Investment

Head Office: Schörgelgasse 32/1/6, 8010 Graz, Austria

Exhibition Space Austria: Grazer Glockenturm, Schlossberg 6,  8010 Graz, Austria

Office London: AØH Art Consultancy Haberz Limited, 83 Baker Street, London W1U 6AG, United Kingdom

Mobile Great Britain: +44 759 265 7030
Mobile Austria: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

Austria versus Great Britain – An Art Discourse with Musical Influences

In Tune, 2021 by Made by a Machine

In Tune, 2021 by Made by a Machine

Exhibition opening/ Eröffnung: Friday/ Freitag, 27th of August 2021 at 3.00 until 4.00 p.m./ 15:00 – 16:00 Uhr
Duration/ Dauer: 27th of August until 20st of September 2021
Location/ Ort: AØH Art Consultancy Haberz Limited (by Guarantee), 43-45 Milford Road, Reading, Berkshire, RG1 8LG, United Kingdom

***Please scroll down for German version***

A conversation starts with an empty void, evolving into a discussion by means of two people communicating resulting in a work of art by a discourse with theoretical information or the seen.

Depicting the intention of the artist and creative process leading to a train of thought, building up the structure of a critical concept or an art review of the presented.
A description of what we see, expecting to understand what lies behind. Our personal experience at that point in time, put into words. 

Writing about what we are not familiar with, something we can barely grasp from an outside perspective, other times being educated and familiar with the field, an expertise built on for decades, versus to being the newbie in the field, putting into words what we can not fully describe or comprehend. Lack of termini or simply too little insight into the subject yet, still ready to learn, finding words to describe our experience, becoming a fresh view from the outside.

Giuilio Paolini, an Italian representative of Arte Povera seems a good starting point for my discourse about art and music, the start of a conversation, at the beginning often solely with the artwork itself. Empty frames, the naked wall to see, first experienced at Lisson Gallery in 1999, heavy golden frames, known from a more classical way of display, taken out of context, the previously displayed gone, the nothingness of the white wall presented, now becoming something, we see the frames displayed in seriality and focus on what is usually a by-product of the displayed, to put into perspective and shift its importance for us to look at.

The empty frame attracts the focus of our gaze, the emptiness of importance, the subject we view. The discarded in focus, like conceptually based in the art movement Arte Povera, putting the discarded into the centre of our attention. Understood as garbage or of less significance by the general public, becoming important to the artist, creating something new.

This emptiness already expressed in my exhibition title in the word Discourse allows us to start from zero, a group of at least two people has to gather to start a discussion about what might have started with the interaction of one person looking and silently engaging with an artwork whilst viewing it, at home or in a museal context.

The discourse however, needs two people and a topic, in this case the artwork or in general terms a field of interest.

For it to become clearer, I refer to my newly intensified private endeavour rowing and my cover of the rowing race in Graz on the River Mur. New to the field but ready to learn and my journalistic instinct made me take pictures and videos, in conversation with professional rowers, the seen becoming meaningful, background stories to comprehend the new. 

The oars, the parts of the boat, the technique we use, the turn over land, getting ready to step onto the boat, fix the oars after putting the boat into the water, follow rules and commands, becoming a number on a seat located in a row of five. Number three ready and off we go, moving a boat forwards by the correct use of oars and our hands, arms and legs, a communication of our body and in sync with a team of five to move ahead, which is towards our back. The turning of the oars to get ready of entering into the water, a musical experience when placed in correctly, from a canon to a single sound resulting in speed, parting the water to move ahead.

The moving backwards but at the same time forwards, only possible in a joint effort. The front, the end, the start the finish, perpetual moving back and forth on the river over four kilometres in a loop. My first goal, participating in a race in one year of time, my more realistic goal, to learn something new and improve every week.

In the art world it is the same, we find an angle, a story that the artwork includes, we are told about it or can read it in a curatorial text or a press release and make up our own story out of it, never copying something without quoting, which would be fraud or plagiarism and is thereby to be opposed. Still the beginning seems more difficult than it really is, ask a question, start a communication becoming a discourse.

The aim of the exhibition in my role as curator is to start a discourse on art and music, to convey something I grew up with and engage with professionally since nearly three decades and something I am new to, just started. To convey the known to those who are new, to learn from those knowledgable in their field. The title of the exhibition furthermore refers to the in between two countries, operating internationally in Austria and the United Kingdom, the gaps to close the people to keep close. Austria versus Great Britain a dialogue, a counter-position.

The art discourse with musical influences, a conversation silently engaged with at first, put into words, becoming audible and ready to be communicated, a discussion furthering the discourse, at first alone, but then in a group, a team effort to get the art world moving ahead.

In the framework of the exhibition an artwork titled In tune, 2021 by relating to the musical perspective has been newly created and will be exhibited for the first time to the audience. An audio cassette tape presented in a vintage tape player by made by machine, transfers the sound of the river Mur recorded as documentation of the river onto a cassette tape to be played on a vintage tape player, previously used for playing sounds from nature.

Artist statement by Made by a Machine:

Made by a Machine follows a research-based approach in the digital art production by the exploration of its borders in a laboratory situation.

The working process always consists of translations from analog to digital an vice versa. The digital and mechanically assisted accuracy of devices developed in the laboratory is often exposed to analog randomness.

Each individual work is methodically searching for the breakeven performance and the limits of the digital machine. Minimal changes in the algorithm already cause drastically different, yet non-predictable outputs.

About the audio installation In Tune~, 2021
 
An endless cassette is running in a small tape recorder. On the cassette is a recording of the river sound of the Mur in Graz from the year 2018. The sound resembles the noise of an incorrectly tuned transmitter. Due to the opening in 2019 of the hydroelectric power plant in the outskirts of Graz, the white noise of the river was silenced and replaced by cutted trees and concrete areas on the riverbank.

 

While the number of mobile apps, that play river sounds as a sleep aid achieve record sales, real natural spaces are destroyed by greed and profit-oriented political decisions and celebrated by investors as sustainable solutions.

The recording was originally made for the sculpture Mur~.  

The participating artists in the exhibition Austria versus Great Britain – An Art Discourse with Musical Influences in London are Kathrin Weber, Made by a Machine, Walter Köstenbauer, Elisabeth Pfniss, Susanne Wolte & Tonino Gotarelli in collaboration with Fondazione Tonino Gottarelli, curated by Daniela Haberz, M.A for AØH Art Consultancy Haberz Limited (by Guarantee), in London in August/ September 2021 and travelling to the Bell Tower Graz in October 2021 in the framework of the exhibition Art & Craft being this year’s exhibition in the series Visiting Schlossberg Mountain 2021 opening on Friday, 8th of October at 4.00 until 7.00 p.m.

We would like to thank our long-term sponsor Real Estate Department of the City of Graz for their continuing support.

Please do not hesitate to contact me if you have further queries under my Austrian mobile: +43 664 182 8678 or my British mobile: +44 759 265 7030 or my personal email address: dhaberz@artconsultancyhaberz.org

Looking forward to your reviews and visit of the exhibitions in London, United Kingdom in August/ September and Graz, Austria in October/ November 2021.

All my best wishes,

Daniela Haberz, M.A.
Curator & Wealth Adviser for Art as Investment

AØH Art Consultancy Haberz Limited, London, United Kingdom &
AØH Art Consultancy Haberz E.u., Graz, Austria

 

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Eine Konversation beginnt mit einem leeren Raum, durch das Kommunizieren von zwei Personen in eine Diskussion verwandelt, resultierend in einem Kunstwerk durch Diskurs mit theoretischen Inhalten oder dem Zu Sehenden.

Abbildend die Intention der oder des Künstler_in und den kreativen Prozess, zu einem Gedankengespinst führend, die Struktur eines kritischen Konzeptes entwickelnd, oder resultierend in einer Kunstkritik zum Präsentierten.

Eine Beschreibung über das was wir sehen, in Erwartung des Verständnisses der Hintergründe. Unsere persönliche Erfahrung zu diesem Zeitpunkt, in Worte gefasst.

Über das zu schreiben mit dem wir vertraut sind, etwas das wir kaum erfassen können vom Standpunkt eines Außenstehenden, in anderen Fällen, in dieser Materie ausgebildet und damit vertraut, eine Expertise, aufgebaut über Jahrzehnte, im Gegensatz dazu ein Neuling in diesem Bereich zu sein, in Worte fassend, was wir nicht vollständig beschreiben oder erfassen können. Fehlen der Termini oder einfach bisher zu wenig Einblick in das Themenfeld, dennoch bereit zu lernen, die Worte zu finden unsere Erfahrung zu beschreiben, in einem frischen Blickpunkt von Außen resultierend.

Giulio Paolini, Italienischer Vertreter der Arte Povera erscheint ein guter Ausgangspunkt für meinen Diskurs über Kunst und Musik, der Beginn einer Konversation, ausgehend oft von einer reinen Auseinandersetzung mit dem Kunstwerk selbst. Leere Bilderrahmen, die nackte Wand zu sehen, erstmalig erfahren in der Lisson Gallery im Jahr 1999, schwere goldene Bilderrahmen, bekannt aus einer klassischeren Präsentationsweise, aus dem Kontext genommen, das vormalig ausgestellte verschwunden, das Nichts der weißen Wand präsentiert, nun zum Etwas werdend, wir sehen die Rahmen in Serialität präsentiert und fokussieren auf das normalerweise Nebensächliche des Vorgestellten, in Zusammenhang gebracht und der Wandel des Wesentlichen unserer Betrachtung.

Der leere Bilderrahmen rückt den Mittelpunkt unseres Blickes auf sich, die Leere wichtig, der Inhalt unseres Betrachtens. Das Weggeworfene im Fokus, zum Betrachtenden resultierend, wie konzeptuell in der Kunstbewegung Arte Povera verankert, das Ausrangierte zum Mittelpunkt unserer Aufmerksamkeit machend. Vom allgemeinen Publikum als Abfall oder von geringerer Bedeutung angesehen, für die oder den Künstler_in von Wichtigkeit, etwas Neues kreierend.

Die Leere, bereits ausgedrückt in meinem Ausstellungstitel im Wort Diskurs, erlaubt uns von Null zu beginnen, eine Gruppe von zumindest zwei Personen muss zusammenfinden  um eine Diskussion zu beginnen, über das was vorerst mit dem Interagieren einer Person während des Betrachtens und stillem Auseinandersetzen mit dem Kunstwerk begonnen hat, zu Hause oder im musealen Kontext.

Der Diskurs jedoch benötigt zwei Personen und ein Themenfeld, in diesem Falle das Kunstwerk oder allgemein gesehen, ein Interessenbereich.

Um es klarer darzustellen verweise ich auf mein aktuell intensiviertes Privatvorhaben den Rudersport und meinen Artikel über das Ruderrennen auf dem Fluss Mur. Neu in diesem Bereich, aber bereit zu lernen und mein journalistischer Instinkt hat mich dazu veranlasst Fotos und Videos zu machen, welche im Gespräch mit professionellen Ruderern inhaltlich erfassbar wurden, Hintergrundgeschichten um das Neue zu verstehen.

Die Ruder, die Bootsteile, die Technik, die wir verwenden, das Umdrehen über Land, ins Boot steigen, die Ruder befestigen, nach dem Zu Wasser Lassen des Bootes Regeln und Kommandos befolgen, zu einer Zahl auf einem Sitz werden, in einer Reihe von fünf. Drei bereit und wir fahren los, ein Boot vorwärts bewegen durch die korrekte Nutzung von Rudern, unserer Hände, Arme und Beine, eine Kommunikation unseres Körpers, synchron mit einem Team von fünf um nach Vorne zu kommen, das hinter uns liegt. Eine musikalische Erfahrung, wenn korrekt hinein geführt, von einem Kanon zu einem einzelnen Klang, resultierend in Schnelligkeit, das Wasser teilend um voran zu kommen.

Das rückwärts bewegen, zur gleichen Zeit vorwärts, nur durch gemeinsame Anstrengung möglich. Das Vorne das Hinten, der Beginn das Ende, zyklisch vorwärts und rückwärts auf dem Fluß über vier Kilometer in einer Endlosschleife. Mein erstes Ziel, in einem Jahr an einem Rennen teilzunehmen, mein realistischeres Ziel, jede Woche etwas Neues zu lernen und mich zu verbessern.

In der Kunstwelt ist es das gleiche, wir finden einen Ansatzpunkt, eine Geschichte, welche das Kunstwerk beinhaltet, sie wird uns mitgeteilt oder wir lesen nach in einem kuratorischen Konzept oder einer Pressemitteilung und erfinden unsere eigene Geschichte, niemals kopieren ohne zu zitieren, was Betrug oder Plagiat wäre und dadurch abzulehnen. Der Anfang scheint diffiziler als er wirklich ist, stelle eine Frage, beginne eine Kommunikation, die zum Diskurs wird.

Das Ziel der Ausstellung in meiner Rolle als Kuratorin ist es einen Diskurs über Kunst und Musik zu initiieren, etwas zu vermitteln mit dem ich aufgewachsen bin und seit fast drei Jahrzehnten beruflich auseinandersetze und etwas, das mir neu ist, gerade begonnen habe. Das mir Bekannte den Neulingen zu vermitteln, von den Erfahrenen in ihrem Feld zu lernen. Der Titel der Ausstellung verweist weiters auf das Dazwischen in zwei Ländern, international operieren in Österreich und Großbritannien, ein Dialog, eine Gegenüberstellung.

Der Kunstdiskurs mit musikalischen Einflüssen, eine vorerst stille Konversation, in Worte gefasst, hörbar werdend und bereit kommuniziert zu werden, eine Diskussion die den Diskurs hervorbringt, zuerst alleine, aber danach in einer Gruppe, eine Teamleistung um die Kunstwelt voran zu bringen.

Im Rahmen der Ausstellung entsteht ein Kunstwerk im Bezug auf den musikalischen Aspekt neu. Eine Kassette in einem Vintage Kassettenrecorder von Georg Kettele, der den Klang des Flusses Mur, der zur Dokumentation des Flusses aufgenommen wurde, auf Kassette transferiert und auf diesem, früher dazu verwendet Naturklänge wiederzugeben, abgespielt wird.

Die teilnehmenden Künstlerinnen und Künstler der Ausstellung Österreich versus Großbritannien – Ein Kunst Diskurs mit Musikalischen Einflüssen sind Kathrin Weber, Georg Kettele, Walter Köstenbauer, Elisabeth Pfniss, Susanne Wolte & Tonino Gotarelli in Kollaboration mit der Fondazione Tonino Gottarelli, kuratiert von Daniela Haberz, M.A für die AØH Art Consultancy Haberz Limited (by Guarantee), in London im August/ September 2021 und als Wanderausstellung im Grazer Glockenturm im Oktober 2021 im Rahmen der Ausstellung Kunst & Handwerk, die diesjährige Ausstellung im Rahmen von Zu Gast am Schlossberg zu sehen, mit Eröffnung am Freitag, 8. Oktober von 16:00 – 19:00 Uhr

Wir möchten unserem langjährigen Sponsor Immobilienabteilung der Stadt Graz für Ihre anhaltende Unterstützung danken.

Bei Rückfragen zögern Sie bitte nicht mich unter meiner Österreichischen Mobilnummer: +43 664 182 8678 oder meiner Britischen: +44 759 265 7030 oder meiner persönlichen E-mail-Adresse: dhaberz@artconsultancyhaberz.org zu kontaktieren.

Beste Grüße

Daniela Haberz, M.A.
Kuratorin & Vermögensberaterin für Kunst als Investition

AØH Art Consultancy Haberz Limited, London, Vereinigtes Königreich &
AØH Art Consultancy Haberz E.u., Graz, Österreich

_____________________________________________________________

AØH Art Consultancy Haberz Limited
Wealth Management limited to the assessment in moveable assets in Art & Art Investment

AØH Art Consultancy Haberz E.u.
Gewerbliche Vermögensberatung, eingeschränkt auf die Veranlagung der sonstigen beweglichen Sachanlagen im Bereich Kunst und Kunstinvestment

Kontakt:
Daniela Haberz, M.A., Director/ Direktorin

London Office/ Büro London:

AØH Art Consultancy Haberz Limited
(by Guarantee)
83 Baker Street, W1U 6AG,
United Kingdom

 

Head office/ Hauptsitz Graz:
AØH Art Consultancy Haberz E.u.
Schoergelgasse 32/1/6, 8010 Graz, Austria

 

Exhibition Space Austria/ Ausstellungsort Österreich:
Bell Tower, Schlossberg 6, 8010 Graz, Austria

Mobile AT: +43 664 182 8678
Mobile UK: +44 759 265 7030
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

Disclaimer: The owner of the copyright hereunder has licensed the material contained in this post for non-commercial private use only and prohibits any other use, copying or reproduction in whole or part without prior permission by AØH Art Consultancy Haberz E.u. or AØH Art Consultancy Haberz Limited (by Guarantee)

 

City Graz Race July 2021 & the connection to Music

Rowing Club Graz / Ruderclub Graz Team

Rowing Club Graz / Ruderclub Graz Team

LIA Rowing Club Vienna

LIA Rowing Club Vienna

LIA Rowing Club Vienna

Becoming a member of the Rowing Club Graz most recently has brought me to covering the City Graz Race last Saturday on the River Mur.

One of the still hidden secrets of the City of Graz when you talk to people is the fact that you can actually row on our River Mur and that the Rowing Club Graz provides the possibility to attend courses to learn how to row if you engage with locals in a discussion.

So far still a newbie in the rowing world I decided to document the recent Race on the River Mur that brought several rowing clubs together to compete in the discipline eight boat racing for people unfamiliar to rowing, meaning that eighth people row in one boat, not as usual three to five like in normal rowing boats and that you do not have two oars each but simply one per person that are distributed to both sides equally  by means of every second rower having one oar pointing in the same direction, boats mainly used for professional racing.

One of the greatest misconceptions by the general public is the distinction between paddling and rowing as they simply did not grow up with it like me, not being priviledged  enough to be sitting in a rowing boat from early childhood onwards.

Rowing for me has a lot to do with music as well as you hear and feel the progress of being in a team in a boat yourself whilst rowing up and down the stream when everyone is pulling in the same direction and the team becomes one, perfectly rowing together, moving a boat across the river with a fine sizzling sound when the oars are moved backwards in the right manner.

When documenting the race I was early and took a photograph of the participating rowing club LIA, who are the first existing rowing club in Vienna, who went up to the starting point where the race began. The moment they passed I heard their tact when the oars hit into the water and gently swirled across the surface of the river backwards and that moment I knew we had no chance to win.

You might ask yourself why the sound is so important and looking at the live pictures I took several times to analyse why our team from Rowing Club Graz did not make it in the end,  I realised that we had a similar technique but simply weren’t in the same tact entirely. Not a single additional rowing stroke audible, no clacking of the oar against the one behind, simply a perfect brief cut into the water and a fast follow up stroke afterwards.

Nonetheless retrospectively it can be said that it is a great success to win against a team of that caliber once, with rowers participating, who took part in olympic games before and make it their sole discipline to row in the eighth boat all over the year and I look forward to our progress for the next year to compete again when we perfected our technique, maybe I am as far at that point to join the team myself.

For the moment I enjoy the club evening rowing training still as a newbie training and learning from those in my club Rowing Club Graz, that won a race against olympic games rowers from our friends in Vienna Rowing Club LIA at the beginning of the tournament.

The finals were a close head to head race between Vienna University and LIA Rowing Club Vienna resulting in a win of the tournament by LIA Rowing Club Vienna.

The extended living room of the City of Graz I called the River Mur banks in my concept for the Sculpture Garden on the River Mur and it indeed is extended to the Rowing Club Graz which can be reached by foot from the centre of Graz in 6,5 kilometres taking about 1,5 hours to engage in a truly royal sport with people who have the same interest, to excel and make the river their own for two hours of rowing in the club evenings every week.

How to become part of the rowing community if you do not yet have heard of it get in touch with the rowing club Graz and subscribe to their newsletter on their website: http://www.ruderclub-graz.at

One hint for those taking part in the rowing classes, wear a T-shirt covering your back entirely, it is called rowing shirt but every rower knows, that the back has to be covered to prevent yourself from sun burns if rowing during the day especially the lunch time hours.

I hope you enjoyed my first cover of a sports event that had nothing to do with my work as a curator for contemporary art and Wealth Adviser for Art as Investment. In the boat, I take the commands given by the boats woman or man, like the entire team in the boat, allowing for a team effort resulting in something that is both physically demanding and keeps people engaging in a singular goal, to move a boat across the river.

Someone once asked me once what my hobbies are, I did not know the answer as my life consisted of work alone but now I can say my hobby is rowing and  I try to excel as best as I can to be part of the rowing community in the City of Graz and train after work to keep a perfect balance between work and private life. As I won every possible medal in walking challenges already in the past month, I take on a new challenge to master something I so far did not engage in the best I can guided by professionals in this field.

All my best and have a lovely summer,

Daniela Haberz, M.A.
Curator & Wealth Adviser for Art as Investment & Rowing newbie

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Photo Credits: Daniela Haberz, M.A. for AØH Art Consultancy Haberz e.U.
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Contact Rowing Club Graz:
Murfelderstraße 260
8041 Graz
Austria

E-mail: office@ruderclub-graz.at
Link: http://www.ruderclub-graz.at

AØH Recommendation Shirazeh Houshiary @ Lisson Gallery, London, Cork Street

Exhibition Pneuma by Shirazeh Houshiary, Installation View at Lisson Gallery, Cork Street until 31st of July 2021

When I saw the new ouvre by British artist, with Iranian roots, Shirazeh Houshiary, I realised that she was strongly connected to nature, the cosmos and nature phenomenons such as the Nordic lights or Milky ways. From my research on Nordic countries, I subsequently travelled to as well, I knew of the phenomenon Nordic lights, which is clearly referenced in Houshiary’s work Enigma, 2020 on view in the UK for the first time.

Enigma, 2020 by Shirazeh Houshiary

Upon a closer look, as well small marks with pencil become visible, showing a succession like on a star map indicating points by means of little crosses on a distorted line drawn across the painting. The gallery director Louise Hayward told me, that Shirazeh Houshiary is inspired by physics, namely the string theory, for me the crosses symbolised stars on a star map and the painted distorted planes can be seen as green and blue coloured milky ways and the marked crosses indications of where stars are located in the universe.

Enigma, 2020 (Detail) by Shirazeh Houshiary

When the work was hung, as well the connection between the works become evident as if the painted wave-like shapes across the canvas became alive and floating as well in-between the canvas’

Pieta, 2021 by Shirazeh Houshiary

Loci, 2021 by Shirazeh Houshiary

The new body of work in Shirazeh Houshiary’s exhibition Pneuma, whom I mainly knew as a sculptor from past works I was familiar with, show this three-dimensional aspect in a painterly manner when looking closely from different angles standing in front of the canvas’ As if the nebulas in the cosmos take form and are prolongued into the exhibition space, the empty space being integral part in her carefully placed artworks on specific locations in the gallery space in Cork Street in London.

Pneuma, 2021 by Shirazeh Houshiary

The artworks when acquired from my point of view should definitely been seen as dyptichon and tryptichon or even a series of the entire display as only then they reveal this phenomenon of creation of a nebula within the space in-between the canvas’ allowing us to temporarily stand in the cosmos ourselves.

From my point of view, a clear reference can be seen to the Icelandic artist Olafur Eliasson, depicting Nordic lights by means of using the colour green in a very intense way throughout his artistic work over the years whilst Houshiary creates an additional layer of placing the lights in a cosmic surrounding relating it to stars and milky ways by means of small interventions with pencil.

Loci, 2021 (Detail) by Shirazeh Houshiary

By means of positioning them towards each other she creates a space that encapsulates us in her world whilst standing in front of the paintings, draws us into her world, dissolving it upon leaving the exhibition space.

Like Foucault said,  a space always has a certain notion in relation to it’s whereabouts and history, partly man-given over the course of time, further defined by our current immediate use of it. Shirazeh Houshiary creates and transforms the exhibition space herself in a very intense manner, giving us the opportunity to dive into her world and allow us to become calm yet agitated by means of creating these as well negative versus positive in-between spaces invisible at first but engaging our eye when spending time with her oeuvre in a more detailed and intense engagement.

The exhibition can be highly recommended and is on view at Lisson Gallery in Cork Street until 31st of July during opening hours Tuesday – Saturday, 11am – 6pm and upon appointment. Prices upon request to the gallery.

Lisson Gallery
22 Cork Street
London W1S 3NA
+44 (0)20 7724 2739
E-mail contact@lissongallery.com
Web: http://www.lissongallery.com

All my best wishes and I am looking forward for you to experience and engage with Shirazeh Houshiary’s work,

Daniela Haberz, M.A.
Curator & Wealth Adviser for Art as Investment
AØH Art Consultancy Haberz Limited

Photo Credits: Daniela Haberz, M.A. for AØH Art Consultancy Haberz Limited

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London Office:
AØH Art Consultancy Haberz Limited
83 Baker Street
London W1U 6AG
United Kingdom

Head office:
AØH Art Consultancy Haberz e.U.
Schoergelgasse 32/1/6
8010 Graz
Austria

Mobile Great Britain: +44 759 265 7030
Mobile Austria: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

AØH Recommendation: Christopher Le Brun

British painter and printmaker Christopher Le Brun exhibited in a very private exhibition setting over the course of two days on 15th and 16th of June 2021 in Lisson Gallery’s London Cork Street dependance and showcased new work by the artist.

Between musical influences and the process involved in the making of his work the exhibition was an unmissable showcasing of Christopher Le Brun’s work for a selected few people invited.

The artist talked about the negative and positive shape of his monotype prints on paper by means of layers becoming three-dimensional and hung floating on the wall casting a slight shadow that added to the three-dimensionality.

Upon my question if Mark Rothko is an influence on him as a painter he affirmed it as when filming the artist talk I could see the colour fields emerge. In conversation with the senior director Louise Hayward and the artist the influence of Claude Monet became evident, as she mentioned the nearly waterly flowing of the colour in the lower bottom panels that reminded me of the water surface of the pond in Monet’s water lily paintings in his home in Giverny, France.

Below the artist talk at Lisson Gallery, London in the series AØH TV:

Christopher Le Brun is represented by Lisson Gallery, London: https://www.lissongallery.com

Looking forward to hear more from the artist and his practise over the coming years.

All my best wishes,

Daniela Haberz, M.A.
Wealth Adviser for Art as Investment & Curator
AØH Art Consultancy Haberz e.U.

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Image Credits: Installation View Lisson Gallery 22 Cork Street, London © Daniela Haberz, M.A. for AØH Art Consultancy Haberz e.U.

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Contact:

Daniela Haberz, M.A.
Wealth Adviser for Art as Investment & Curator

Office United Kingdom:
AØH Art Consultancy Haberz Limited (By Guarantee)
83 Baker Street
London W1A 6AG
United Kingdom

Head office Austria:
AØH Art Consultancy Haberz E.u.
Schoergelgasse 32/1/6
8010 Graz
Austria

Exhibition Space Austria:
Bell Tower on Schlossberg Mountain
Schlossberg 6
8010 Graz
Austria

Mobile UK: +44 759 265 7030
Mobile Austria: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

YACA (Young Austrian Contemporary Art) & Counterparts Worldwide – Going London June 2021

Under Construction, London June 2021

Under Construction, London June 2021 © AØH Art Consultancy Haberz Limited 

Für Deutsche Version bitte nach unten scrollen*****

The exhibition YACA (Young Austrian Contemporary Art) & Counterparts worldwide – Going London 2021 showcases Austrian art in counterposition with selected international artists in London in June 2021 in our Baker Street office.

Elisabeth Pfniss, an Austrian painter from the region Styrian, is most prominent for her use of special Japanese paper, that she reworks and in the process creates a three-dimensional fiche, slightly translucent when leaned against the window upon the sunlight falling in. The artist is in the early stages of her career which she started after a career as a doctor and in her work the meticulous process of development of her work, the patience of a surgeon, applying layers and layers of paint to the paper ordered mainly from Japan directly and in the case of the displayed work Woman in Rosé, 2020 creates these unique works, consisting of six parts, numbered and signed. Elisabeth Pfniss was chosen, when I discovered her last year and being part of an exhibition at the Bell Tower Graz, curated by myself after being familiar with her work for several years. The figurative language in her early work has become more and more abstract in her recent works and are influenced by her medical career.

Woman in Rosé, 2020 by Elisabeth Pfniss

Woman in Rosé, 2020 by Elisabeth Pfniss Installation view AØH Art Consultancy Haberz e.U. April 2021

Woman in Rosé, 2020 has been chosen as a title in conversation with the artist, upon a studio visit in Graz, Austria and the particular aspect is that the figurines depicted are headless. The head seems cut off, only the neck remaining, stretching out of the depicted body. Rose in colour in a very delicate shade, mainly associated with little blossoms on wild rose bushes, reminding of a secret garden not the cruel outcome of a beheaded figurine which makes us ponder about the deeper meaning of her work and clearly relates to taking apart the human body in medical training, when dissecting to study the anatomy of humans. Pointing out, that the head remains the most important part in humankind, making us who we are, not only shaping our personality but being centre of the functioning of our whole body, creating our identity. The lacking of such thereby questions our existence but could as well incur psychoanalysis, when confronted with new ways to adapt to life’s circumstances like in today’s times.

The science fiction novel O-Zone by American author Paul Theroux, written in 1987 describes a New York, that is sealed off from the rest of the world, where babies are brought up in retort and people have to pass gates in town only by using their personal fingerprint. In the 1980s still very futuristic, today part of our daily routine, even in using our phones with facial recognition or finger print access, securing and protecting our personal life. Like I said to my friend, working in a small café in Graz in Austria the other day, I would have never thought that one day I would need to provide a test result to sit down for cake and coffee, nowadays an integral part of our life to stay healthy. Futuristic sounding at first, but today’s reality around the world.

The counter-position with the internationally renowned American artist Dan Graham, selected for the exhibition with his limited edition work Sketch for Two Way Mirror/ Hedge Arabesque dating from 2013 created this sketch bearing in mind, a future sculptural outcome as a commission work and is signed with his name three times Dan Graham, with Dan Graham, signed Dan Graham, which led me to write about the ‘Me’ versus ‘Us’ in 2019, on the occasion of his exhibition Dan GrahamContemplation curated by myself in the AØH Art Consultancy Haberz.

In his performances Graham engages with the audience, the public is asked to define himself, he defines the audience. It’s a ’Me’ versus ’We’ resulting in creating a better understanding of Graham’s personality by himself, mirrored in the eyes of the audience.

His creation of this sketch, affirmed by signing it a third time. This process shows his presence as an artist as well as being by himself in his studio when creating the work as well as the master imprinting on the final drawing with his signature. On a conceptual level integrating us as spectators, a major part in Dan Graham’s artistic practice in his art performances. Dan Graham is represented by Lisson Gallery in London.

Sketch for Two Way Mirror/ Hedge Arabesque, 2017 by Dan Graham

Sketch for Two Way Mirror/ Hedge Arabesque, 2017 by Dan Graham Installation view AØH Art Consultancy Haberz e.U. 2019 – Collection Miles’ Christie Trust 

The works by Austrian artists Rene Berghold, Max Kulich and Walter Koestenbauer as well as German painter Kathrin Weber and Italian painter Tonino Gottarelli in collaboration with the Fondazione Tonino Gottarelli from Imola, Italy conclude the curatorial selection for the exhibition, scheduled for June 2021 in our London office soon to be accessible upon appointment only to the public, concomitant with the current Health and Safety regulations by the UK Government.

The The Colour of Words, 1999 by Tonino Gottarelli- Installation view Bell Tower Graz, October 2020

The Colour of Words, 1999 by Tonino Gottarelli- Installation view Bell Tower Graz, October 2020

Erased, 2020 by Rene Berghold

Ausradiert/ Erased, 2020 by Rene Berghold – Installationsansicht AØH Art Consultancy Haberz Limited Nov 2021 – Private Collection Daniela Haberz, M.A.

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Die Ausstellung YACA (Young Austrian Contemporary Art) & Counterparts worldwide – Going London 2021 zeigt Österreichische Kunst in Gegenüberstellung mit ausgewählten internationalen Künstler_innen in London im Juni 2021 in unserem Büro in der Baker Street.

Die Steirische Malerin Elisabeth Pfniss, die am bekanntesten für ihre Nutzung von speziellem Japanischen Papier ist, das sie weiterbearbeitet und dreidimensionale Fiche kreiert, wie man im Französischen sagt, zu Deutsch kartenförmige Blätter, leicht durchscheinend wenn sie gegen das, Fenster, mit einfallendem Sonnenlicht, gelehnt sind. Die Künstlerin ist am Beginn ihrer künstlerischen Karriere, welche sie nach ihrem Beruf als Ärztin begonnen hat und in ihrer Arbeit wird die genaue Herangehensweise im Entstehungsprozess, mit Geduld einer Chirurgin, durch Schicht um Schicht von Farbe auf hauptsächlich direkt aus Japan bestelltem Papier aufgetragen und im Falle des gezeigten Werkes Frau in Rosé, 2020, kreiert sie Unikate, die aus sechs Teilen bestehen, nummeriert und signiert. Elisabeth Pfniss wurde ausgewählt, nachdem ich sie im letzten Jahr entdeckt habe, als Teilnehmerin einer von mir kuratierten Ausstellung im Grazer Glockenturm, nachdem ich mit ihrer Arbeit bereits einige Jahre vertraut war. Die figurative Formensprache in ihrem frühen Werk wurde immer abstrakter in ihren aktuelleren Arbeiten und sind von ihrer medizinischen Karriere beeinflusst.

Frau in Rosé, 2020 wurde m Gespräch mit der Künstlerin, bei einem Atelierbesuch, als Titel ausgewählt und ihr besonderer Aspekt sind die fehlenden Köpfe der abgebildeten Figuren. Der Kopf scheint abgeschnitten, nur der Hals verbleibend, hervor gestreckt aus dem abgebildeten Körper. Rosa in Farbe in einem sehr leichten Ton, hauptsächlich mit kleinen Knospen auf wilden Rosenbüschen assoziiert, an einen geheimen Garten erinnernd, nicht das grausame Resultat einer geköpften Figur, was uns über die tiefere Bedeutung ihrer Werke nachdenken lässt und klar auf das Auseinandernehmen des Körpers in der medizinischen Ausbildung Bezug nimmt, wenn ein Körper seziert wird, um die Anatomie der Menschen zu studieren. Hervorhebend, dass der Kopf der wichtigste Teil der Menschheit bleibt, uns zu dem macht, wer wir sind, nicht nur unsere Persönlichkeit formt, sondern das Zentrum der Funktionalität unseres gesamten Körpers ist, unsere Identität kreiert. Das Fehlen desselben stellt dabei unsere Existenz in Frage aber könnte ebenfalls Psychoanalyse implizieren, wenn wir mit neuen Wegen konfrontiert sind, uns an die Lebensumstände der heutigen Zeit anzupassen.

Der Science Fiction Roman O-Zone des Amerikanischen Autors Paul Theroux, verfasst im Jahr 1987, beschreibt ein New York, das vom Rest der Welt abgeschnitten ist, in dem Babies in der Retorte aufgezogen werden und Menschen Absperrungen in der Stadt passieren müssen, nur durch Nutzung ihres persönlichen Fingerabdruckes. In den 1980er Jahren noch futuristisch, heute Teil unserer täglichen Routine, beispielsweise in Nutzung unserer Telefone mit Gesichtserkennung oder Zugang mit Fingerabdruck, unser persönliches Leben sichernd. Wie ich zu einem Freund, der in einem kleinen Café in Graz arbeitet kürzlich gesagt habe, ich hätte nie gedacht, dass ich eines Tages einen Test benötigen würde um mich zu Kuchen und Kaffee hinzusetzen, heutzutage ein integraler Teil in unserem Leben um gesund zu bleiben. Zu Beginn futuristisch klingend, aber heutzutage Realität rund um die Welt.

Die Gegenüberstellung mit dem international anerkannten, Amerikanischen Künstler Dan Graham, für die Ausstellung ausgewählt mit seiner limitierten Edition Sketch for Two Way Mirror/ Hedge Arabesque, datierend aus dem Jahr 2013, kreierte diese Skizze mit dem Vorsatz einer zukünftig skulpturalen Umsetzung, als Auftragsarbeit und ist dreimal mit seinem Namen signiert, Dan Graham, mit Dan Graham, signiert Dan Graham, was mich 2019 dazu gebracht hat über das ‘Ich’ versus ‘Uns’ zu schreiben, anlässlich seiner Ausstellung Dan GrahamContemplation, von mir für die AØH Art Consultancy Haberz kuratiert.

In seinen Performances interagiert Graham mit dem Publikum, die Zuschauer sind aufgefordert ihn zu definieren. Es ist ein ‘Ich’ versus ‘Wir’, resultierend in einem besseren Verständnis Graham’s Persönlichkeit durch ihn selbst, gespiegelt in den Augen der Zuschauer.

Seine Kreation dieser Skizze, zugestimmt, indem er sie ein drittes Mal signiert. Der Prozess zeigt seine Präsenz als Künstler, zugleich das Alleinsein in seinem Atelier, als er das Werk geschaffen hat, sowie die Prägung der finalen Zeichnung durch den Meister, mit seiner Unterschrift. Auf konzeptueller Ebene, uns als Beobachter_innen integrierend, ein wesentlicher Teil in Dan Graham’s künstlerischer Herangehensweise in seiner Performance Kunst. Dan Graham ist von der Lisson Gallery in London repräsentiert.

Die Arbeiten der Österreichischen Künstler Rene Berghold, Max Kulich und Walter Köstenbauer sowie der Deutschen Malerin Kathrin Weber und dem Italienischen Künstler Tonino Gottarelli in Kollaboration mit der Fondazione Tonino Gottarelli von Imola, Italien vervollständigt die kuratorische Auswahl der Ausstellung, geplant für Juni 2021 in unserem Büro in London, einhergehend mit den aktuellen Gesundheits- und Sicherheitsbestimmungen der Britischen Regierung nur auf Anfrage geöffnet.

Bei weiteren Fragen oder um einen Besuch der Ausstellung zu vereinbaren, zögern Sie bitte nicht mich unter meiner Englischen Mobilnummer +44 759 265 7030 oder meiner privaten E-mailadresse: dhaberz@artconsultancyhaberz.org zu kontaktieren.

Beste Grüße aus London

Daniela Haberz, M.A.

Kuratorin & Vermögensberaterin für Kunst als Investition
AØH Art Consultancy Haberz e.U. & AØH Art Consultancy Haberz Limited (By Guarantee)

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Bildverweis: Installationsansicht Grazer Glockenturm am Schlossberg Oktober 2020 & Baker Street Büro London November 2020 © Daniela Haberz, M.A. for AØH Art Consultancy Haberz e.U.

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Kontakt:

Daniela Haberz, M.A.
Direktorin & Vermögensberaterin für Kunst als Investition

Büro Vereinigtes Königreich
AØH Art Consultancy Haberz Limited (By Guarantee)
83 Baker Street
London W1A 6AG
Vereinigtes Königreich

Hauptsitz Österreich:
AØH Art Consultancy Haberz E.u.
Schoergelgasse 32/1/6
8010 Graz
Österreich

Ausstellungsort Österreich:
Grazer Glockenturm am Schlossberg
Schlossberg 6
8010 Graz
Österreich

Lee Ufan – In Between/ Dazwischen & Public Sculpture Relatum April 2022

Selected Site for the Public Commisson/ Ausgewählter Ort für die Skulptur im öffentlichen Raum, Graz, Austria

For the English version please scroll down******

Die Skulptur im öffentlichen Raum betitelt Relatum – The Leap zu Deutsch RelatumDer Sprung wurde vom Koreanischen Künstler Lee Ufan für den Skulpturengarten an der Mur für die Stadt Graz kreiert und in Beziehung zur neu entstandenen Holzbrücke gesetzt, welche die zwei Flussufer in diesem Gebiet im Bezirk Gries, das gerade im Zuge des Murkraftwerkbaus neu entwickelt wird, verbindet und die Weiterentwicklung meines Skulpturengarten an der Mur ermöglicht, der durch eine Skulptur des Österreichischen Künstlers Alfredo Barsuglia auf der anderen Murseite im Grünanger Park, der von den Grazerinnen und Grazern für Sport- und Freizeitaktivitäten genutzt wird, seinen Ausgang nahm.

Wie in meinem kuratorischen Konzept zu Lee Ufan’s Ausstellung Lee Ufan –  In Between/ Dazwischen entwickelt für den Grazer Glockenturm für April 2022 im Rahmen der Ausstellungsreihe Zu Gast am Schlossberg geschrieben, referenziert Relatum das Lateinische Wort Relatus, zu Deutsch Reden oder Bericht erstatten, sowie Relato, Widerhallen, im Bezug auf die Skulptur der Widerhall der umgebenden Landschaft, eingerahmt durch die Skulptur.

Zusätzlich, bezieht sich der Titel auf den Sprung entlang des Flussufers, sowie das spiralförmige Hin und Her zwischen der existierenden Skulptur, dem architektonischen Element der Brücke und dem bogenförmigen Sprung seiner Skulptur, eingefroren und sichtbar gemacht als skulpturales Element. In Mitten der Luft beginnend, an diesem Ort des Flussufers auf dem etwas erhöhten Pfad auftreffend und endgültig mit einem Sprung in die Luft einen Bogen umschreibend, um im Fluss zu landen. In Form eines Tors wird die Szenerie in der Distanz eingerahmt.

Der Teil dazwischen, der zumeist zwei Teilen der Skulpturen von Lee Ufan ist selbst eine Form, der unsichtbare dritte Teil. Eine Kommunikation zwischen den beiden physischen Teilen und dem leeren Raum, festgelegt von Lee Ufan beim Aufbau der Installation, zusätzlich von uns Besucher_innen geformt, als bewegliche Komponente, die sich verschiebt, wenn man davor steht, den leeren Raum dazwischen definiert.

Wie ich einmal in einem Essay über sein Werk geschrieben habe, involviert er die Subjekt-Objekt Beziehung, die wir aus der Psychologie kennen oder aus Foucault’s theoretischen Abhandlungen seines Buches Heterotopien. Der utopische Körper. Gleichzeitig wird eine vierte Komponente hinzugefügt, die geographische Verortung seiner künstlerischen Arbeit im realen Raum, die ich als Weiterentwicklung von Foucault’s Theorie hinzugefügt habe, wir als Menschen definieren den Raum und geben ihm seine bestimmende Funktion.

Lee Ufan beschreibt seine Arbeiten, als für einen Raum entstanden zu sein, situiert von ihm selbst, referenzierend und in Relation zur Umgebung, die skulpturale Installation in Bezug zu dem, was sie umgibt, das rund um die Skulptur zu sehen ist, in klarer Referenz zu den ausgewählten Teilen und der Natur selbst oder dem Ausstellungsraum in dem sie gezeigt wird. Die Umgebung neu definierend und als Referenzpunkt lokalisiert, wenn temporär an diesem Ort gezeigt oder wenn wir eine permanente Installation besuchen, interagieren wir als Besucher_innen mit ihr, den leeren Raum umzeichnend und eine zusätzliche Bedeutung gebend, durch unseren persönlichen Zugang oder Hintergrund. 

Wie vielschichtig wir als Menschen sind, dieser persönliche Hintergrund fügt eine zusätzliche Bedeutungsebene hinzu, wie bei Foucault beschrieben und basiert auf Lee Ufan’s biographischen Hintergrund, auch bezugnehmend auf seine verschiedenen Serien und sein Oeuvre, das er über einen Zeitraum von mehreren Dekaden kreiert hat.

Ein wesentlicher Punkt beim Erschaffen seiner Werke spielen Schatten und Licht, die eine Kommunikation zwischen den Teilen seiner Arbeit beginnen und eine weitere Ebene zu seinen Skulpturen hinzufügt, die über den Tag und die Jahreszeiten hinweg variieren, beeinflusst durch das genaue Platzieren und Zusammensetzen der involvierten Teile, welche diese Kommunikation der Schatten ermöglicht.

Die Relatum Serie von Lee Ufan wurde in mehreren Auftragsarbeiten auf der ganzen Welt umgesetzt, zuletzt im Serpentine Gallery Park unter dem Titel RelatumStage kuratiert von Hans Ulrich Obrist, London, England in 2018, dem Schloss Versailles in Frankreich unter dem Titel Lee Ufan Versailles kuratiert von Catherine Pégard im Jahr 2014 und im Musée de la Chasse et de la Nature, Paris unter dem Titel  Relatum, le repos de la transparence (Relatum das Ruhen der Durchsichtigkeit) im Jahr 2013, kuratiert von Louise Hayward, Senior Direktorin der Lisson Gallery, London.

Relatum als Überbegriff seiner Werkreihe involviert immer auch einen weiteren Begriff, wie oben erwähnt, der auf den spezifischen Ort, für den sie kreiert wurde, Bezug nimmt. Im Bezug auf die Skulptur im öffentlichen Raum, von mir in Auftrag gegeben und der Stadt Graz vorgeschlagen, ist dieser Untertitel Der Sprung, bezugnehmend auf die Skulpturen, die in Zukunft noch entstehen werden entlang der Mur, aber auch die fünf Orte, die dem Künstler vorgeschlagen wurden, aus denen er diesen Ort ausgewählt hat.

Der Sprung in der Zeit, wie oben erwähnt, ist ein weiterer Aspekt, der die Entwicklung seiner Skulptur eigens für diesen Ort am Flussufer der Mur für diesen Ort hervorhebt und für den Skulpturengarten an der Mur entworfen wurde, der von mir für die Stadt Graz in meiner Funktion als Leiterin des Skulpturengarten an der Mur und der AØH Art Consultancy Haberz e.U. entwickelt wurde.

Wir freuen uns den international erfolgreichen Künstler Lee Ufan und seine Assistentin, sowie unsere Projektpartnerin der Lisson Gallery hier in Graz im nächsten Jahr 2022 begrüßen zu dürfen und die Umsetzung der Ausstellung und Skulptur im öffentlichen Raum in enger Kooperation mit seiner Galerie in London und dem Künstleratelier Lee Ufan in Paris, Frankreich sowie der Stadt Graz im Zuge der Umgestaltung der Murpromenade durch den Murkraftwerksbau umzusetzen.

Die Skulptur wird mit lokalen Firmen der Region Steiermark umgesetzt um neue Stellen vor Ort in Graz zu schaffen und dadurch Aufträge in die Steiermark holen um diese zweite Skulptur im öffentlichen Raum im Rahmen des Skulpturengarten an der Mur gemeinsam zu realisieren.

Bei Fragen bitte ich Sie sich gerne an mich unter meiner Mobilnummer: +43 664 182 8678 oder meiner privaten E-mailadresse: dhaberz@artconsultancyhaberz.org zu wenden.

Herzlichen Dank im Voraus für Ihre Unterstützung in der Umsetzung dieses Vorhabens und besonderen Dank unserem langjährigen Sponsor Immobilienabteilung der Stadt Graz.

Beste Grüße

Daniela Haberz, M.A.
Kuratorin & Vermögensberaterin für Kunst als Investition


Daniela Haberz, M.A., Direktorin & Projektleiterin
AØH Art Consultancy Haberz E.u.
Gewerbliche Vermögensberatung, eingeschränkt auf die Veranlagung der sonstigen beweglichen Sachanlagen im Bereich Kunst und Kunstinvestment

Büro Graz: Schörgelgasse 32/1/6, 8010 Graz

Ausstellungsort Graz: 
Grazer Glockenturm, Schlossberg 6, 8010 Graz, Austria

Büro London:
AØH Art Consultancy Haberz Limited (By Guarantee)
83 Baker Street, W1U 6AG, United Kingdom

Mobil: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

Disclaimer: The owner of the copyright hereunder has licensed the material contained in this email for non-commercial private use only and prohibits any other use, copying or reproduction in whole or part without prior permission by AØH Art Consultancy Haberz E.u.

Photo Credit: Relatum Series by Lee Ufan Lisson Gallery, London

The Public Commission RelatumThe Leap has been created by Korean artist Lee Ufan for the Sculpture Garden on the River Mur in Graz, Austria and is set in relation to the wooden bridge connecting the two river banks of the area, currently undergoing development due to the River Mur Power Plant, which allows the development of my Sculpture Garden on the River Mur, started with a project by Austrian artist Alfredo Barsuglia on the opposite River Bank in a small park used for recreation and sports activities by the people living in Graz in 2018.

As described in my curatorial concept on Lee Ufan’s work, for his exhibition Lee Ufan –  In Between/ Dazwischen in the Bell Tower in Graz for April 2022 in the framework of my exhibition series Visiting Schlossberg Mountain, Relatum is referring to the latin word Relatus translating to Talk or Report as well as Relato, Reverberating that can be referred to in this sculpture as reverberating the landscape surroundings, framed by the sculpture.

Furthermore, the leap alongside the river, as well as being spiralled between the existing sculpture, the architectural element, the bridge and his sculpture picturing the leap as the frozen moment in time. Starting in mid air, resting at this point of the river’s side elevated ground above the river bank and finally ending with a leap rising in the air into the water describing an arch picturing and framing the scene in the distance in form of a gate.

The in-between part of usually two parts of the sculpture is a shape in itself and the invisible third part. A communication between the physical parts and the empty space that is defined by Lee Ufan, when setting up the installation, is further defined by us visitors as a third mobile component that deviates and shifts when standing in front of it, defining the empty space in between anew.

River Bank near the Mur Power Plant viewed from the bridge/ Flussufer beim Murkraftwerk von der Brücke aus gesehen, Graz, Austria

As I once wrote in an essay about his work in 2017, he involves the subject object relation as described in psychology or Foucault’s theoretical works in his book On Heterotopia, but at the same time adds an additional fourth component, the geographical localisation of his work in real space which I added as further development of Foulcaut’s theory, that we as humans define a space and give it a dedicated purpose.

Ufan describes his works to be created for the space, placed by himself referencing and relating to the surroundings, putting the sculptural installation into perspective to what surrounds it, what is seen around the sculpture in clear reference to the chosen parts and nature itself or the exhibition space it is shown at, defining the surroundings anew and locating it there as a reference point when being in this place temporarily or when visiting a permanent installation we can interact with as visitors, shaping the empty space and giving it an additional meaning by means of our own access and background.

As multi-facetted as we as humans are this background adds a further meaning as described by Foucault and is based on Lee Ufan’s biographical background as well as relating to the different series and body of works he created over the period of several decades of which a curatorial selection will be on view at the exhibition in the Bell Tower Liesl on Schlossberg Mountain in April 2022.

An important fact in creation of his work plays shadow and light, that starts to communicate between the parts of his work and creates another layer to his sculpture that varies over the day and seasons influenced by carefully placing the involved parts together which make these shadow communications possible.

The Relatum Series by Lee Ufan has been realised in several commissions around the world, most recently in the Serpentine Galleries Park titled RelatumStage, London, UK curated by Hans Ulrich Obrist in 2018, the Château de Versailles in France under the title Lee Ufan Versailles in 2014 curated by Catherine Pégard and in the Musée de la Chasse et de la Nature, Paris, France under the title Relatum, le repos de la transparence (Relatum, the resting of transparency) in 2013 curated by Louise Hayward, Senior Director of Lisson Gallery, London.

Relatum as an umbrella title of this work series always involves an additional term as mentioned above, relating to the site it is created for. In case of his Public sculpture commissioned by myself and suggested to the City of Graz this subtitle is The Leap, referencing the sculptures on the River Mur to come but as well the five locations suggested to the artist to select from.

The leap in time as referred to above is another access point that underlines the creation of his installation especially for the location he chose in the Sculpture Garden on the River Mur, that has been created by myself for the City of Graz in my role as Head of the Sculpture Garden on the River Mur and Head of the AØH Art Consultancy Haberz e.U.

We are looking forward to welcoming the renowned artist Lee Ufan and his assistant as well as our project partner from Lisson Gallery here in Graz in Austria next year 2022 and the realisation of the exhibition and public commission in close collaboration with Lisson Gallery, London, United Kingdom and studio Lee Ufan in Paris, France and the City of Graz, Austria.

The sculpture will be realised involving local companies from the region Styria to allow for new jobs to be created over the due course of the coming year and to bring new work to people from the region to realise this second outdoor sculpture in the Sculpture Garden on the River Mur together.

For further questions or the entire concept please do not hesitate to get in touch under my mobile no. +43 664 182 8678 or my personal e-mail address: dhaberz@artconsultancyhaberz.org

Thank you very much in advance for your support in realisation of this endeavour and special thanks to our long-term sponsor Real Estate Department of the City of Graz.

All my best wishes,

Daniela Haberz, M.A.
Curator & Wealth Adviser for Art as Investment

_____________________________

Contact:

Daniela Haberz, M.A., Director & Head of Project

AØH Art Consultancy Haberz e.U. & Limited
Wealth Management limited to the assessment in moveable assets in Art & Art Investment

Head office Graz: 
AØH Art Consultancy Haberz E.u.
Schoergelgasse 32/1/6, 8010 Graz, Austria

Exhibition Space Austria: 
Bell Tower, Schlossberg 6, 8010 Graz, Austria

London Office:
AØH Art Consultancy Haberz Limited (By Guarantee)
83 Baker Street, London W1U 6AG, United Kingdom

Mobile AT: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

Disclaimer: The owner of the copyright hereunder has licensed the material contained in this email for non-commercial private use only and prohibits any other use, copying or reproduction in whole or part without prior permission by AØH Art Consultancy Haberz E.u.

Paintings Painted/ Malerei Gemalt Graz going London 2020

The touring exhibition Paintings Painted/ Malerei Gemalt Graz going London has started yesterday, today the large suitcase has just been checked-in on Graz Airport and will travel with me to London Heathrow to be brought to my Baker Street Office tomorrow morning.

Current News: The exhibition space for New York has been booked today from 3rd to 10th of May 2021 coinciding with Frieze Art Fair New York, USA

Hudson Yards, Exhibition space of AØH Art Consultancy Haberz Graz Going International – Next stop: New York May 2021
The Shed, Location for Frieze Art Fair New York 5th until 09th of May 2021

Participation fee for New York, USA: May and London, UK: June/ July 2021:
300 € including transport & rental of exhibition space.
In case of financial restrictions please let me know so that we can arrange a special fee.

My sincere gratitude goes to the artists participating in the current touring exhibition, which has three exhibition venues. London November/ Dezember 2020 and in the new year 2021:
Budapest, Hungary: February
Location: Lavor Collective Salon, cancelled as there was no further exhibition possibility and the collaboration ended

Rotterdam, Netherlands: March
Location Victory Art, cancelled as there was no further exhibition possibility and the collaboration ended

Graz, Austria Visiting Schlossberg Mountain 2021 April
Location: Glockenturm Liesl am Grazer Schlossberg, Schlossberg 6, 8010 Graz, Austria

New York, USA 3rd till 10th of May coinciding with Frieze Art Fair New York, USA
Location: Hudson Yards, Floors 7, 424 W 33rd St #13, New York, NY 10001, United States

London, United Kingdom First of June until 31st of July
Location: AØH Art Consultancy Haberz Limited, 83 Baker Street, London W1U 6AG, United Kingdom

Thanks to everyone who supported with their help and showcasing of works at the Glockenturm Liesl in Graz in the framework of Visiting Schlossberg Mountain October/ November 2020, Susanne Wolte, Elisabeth Pfniß, Katharina Zussner, Reiner Heidorn, Martin Brischnik, Max Kulich & last but not least Walter Köstenbauer.

A lot of thanks as well to our 711 visitors in four weeks and fourteen exhibition days and the school group of the Akademische Gymnasium Graz, Austria. Especially the lovely group 3c who I know from last year as 2c and their art teacher Helga Kikel who let’s me join her class as head of art workshop in the framework of her art classes and the exhibitions at the Bell Tower Graz.

From 12th until 30st of November 2020 the exhibition can be viewed on appointment only in 83 Baker Street, London, United Kingdom

Below can be found my three hour work from yesterday afternoon building a transport box for the large art pieces that were shipped by secure mail from the post office in Graz. A big thanks to Pagro and the Post Office Neutorgasse for letting me build the box in their shops and the two post officers applying the final touch to make everything compatible with the shipping regulations for Austria and the United Kingdom.

All my best wishes and I keep you posted about the exhibitions! Have a lovely pre Christmas time and see you all healthy and safe in the New Year 2021,

Daniela Haberz, M.A.

Curator & Wealth Adviser for Art as Investment

AØH Art Consultancy Haberz e.U., Graz, Austria & AØH Art Consultancy Haberz Limited, London, United Kingdom

 

 

Exhibition Paintings Painted/ Malerei Gemalt until 31st of October 2020

Dear friends of the AØH Art Consultancy Haberz,

We are happy to inform you, that the exhibition Paintings Painted/ Malerei Gemalt will be travelling to London in November and Rotterdam to Victory Art in December 2020.

A great opportunity for us to inaugurate our new office and company AØH Art Consultancy Haberz Limited in Baker Street in London on 12th of November 2020 at 4.00 till 6.00 p.m. Not only Sherlock Holmes has is current office there now we follow to bring the culture and art scene of our City Graz and our county Styria out into the world.

Due to the artworks being sent to London already with end of October,  I would like to announce that the exhibition is closing on 31st of October. New opening hours: Thursday & Friday 2.00 till 5.00 p.m. and Saturday 11.00 a.m. till 2.00 p.m.

For those who can not make it here an one hour curatorial tour through Paintings Painted/ Malerei Gemalt by Daniela Haberz, M.A. in English language: 

Due to new regulations of the federal government and today’s chamber of commerce regulations we cancel the finissage and as well shorten the exhibition by a week.

We  already counted 700 visitors so far and I would say that in turbulent times like theses it can be considered a successful outcome.

Yesterday, along strict guidelines of the ministry of education and federal government laws we held a school workshop, mainly outdoors and with access to the exhibition for five students on each floor only at a time.

At this point I would like to thank professor Helga Kikel and my favourite students 3 c from Akademisches Gymnasium Graz, Austria for being part of Art Arc/ Bridging by means of Art and am looking forward to exhibit their artworks inspired by the exhibition next year in October/ November 2021 in the framework of Art & Craft taking place as part of Visiting Schlossberg Mountain 2021. The travel of the students work to London in 2021 after we close is ahead too and plans are to invite people to come to London with me as a guide to explore British culture, food and sports in October 2021 during Frieze Week 2021. Please write to me if you are interested to hear more or be put on our mailing list under: dhaberz@artconsultancyhaberz.org

Any kid or student, that would like to hand in a drawing or artwork for this exhibition is more than welcome to call me in Austria under: +43 664 182 8678 or in England: +44 759 265 7030 or drop me a short note under: dhaberz@artconsultancyhaberz.org

With best wishes,

Daniela Haberz, M.A.
Curator & Wealth Adviser for Art as Investment


Bitte finden Sie den Pressetext in Deutscher Sprache hier:
Pressetext Paintings Painted Malerei Gemalt Oktober November 2020

Einladungskarte: 
Ausstellungseinladung/ Invitation Card: Paintings Painted/ Malerei Gemalt 2020

The next exhibition opening in the framework of Visiting Schlossberg Mountain 2020 will open on Friday, 2nd  of October 2020 at 4.00 until 7.00 p.m. and presents the artists Tonino Gotarelli as master of mixed media painting approach in a co-operation with the Fondazione Gottarelli in Imola, Italy and currently active painters. From Germany Reiner Heidorn, and from Austria, Rene Berghold, Martin Brischnik, Walter Köstenbauer, Max Kulich, Elisabeth Pfniss, Wendelin Pressl Susanne Wolte and Katharina Zussner.

The exhibition takes place in the framework of the exhibition series Visiting Schlossberg Mountain 2020 and is curated by Daniela Haberz  M.A. as well serving as recommendation for Collection Acquisition in my role as a Wealth Adviser for Art as Investment.

As Barbara Rosen established in a symposium on Donald Judd in a panel discussion titled Is Easle Painting Dead? with Larry Bannard, Larry Poons and Robert Rauschenberg on 10th of November 1966 the artists were asked for their perspective on being a painter and having finally chosen this medium as primary one in their career or not. Like stated a painter is simply not good enough for any other medium that’s why they are stuck with painting as a creative output sent a controversial message.

Spinning this controversial point of view  further, my curatorial choice of contemporary painters shows current practise in this medium with a today approach on the often considered rusty technique, mainly known by the general public as oil painting on canvas hanging in art history museums or showcasing well established artists in large survey retrospectives.

Paintings Painted/ Malerei Gemalt further references an exhibition called Painting 2.0 shown at Tate Modern and provides a new and fresh perspective on a ‘dying?’ medium.

That’s left for the visitor to decide, whom we welcome back to the Bell Tower on Schlossberg Graz with the second exhibition in this year 2020. The art book on Alfredo Barsuglia will be presented to the public that day during the opening ceremony on 2nd of October 2020 starting from 4.00 p.m. until 7.00 p.m.

The latest limited edition art book on Alfredo Barsuglia’s exhibition Horizon in the framework of Visiting Schlossberg Mountain Oct/ Nov 2019 written by Daniela Haberz, M.A. has been published. The book includes Barsuglia’s project Zeitsprung/ Time Jump, 2019-2040 for the Sculpture Garden on the River Mur curated and headed by Daniela Haberz, M.A. and has been inaugurated on 10th of September 2020 at 4.30 until 6.00 p.m. at the Grünanger Playground & Skateboard Park.

We would like to take the time to announce our latest co-operation with Hungary based Art Consultancy Lavor Collective: http://www.lavorcollective.com

and Victory Art, Rotterdam: https://www.victoryart.eu

All my best and I am looking forward to engage in thorough discussion on painting,

Daniela Haberz, M.A.
Curator & Wealth Adviser for Art as Investment
AØH Art Consultancy Haberz E.u.

1) Donald Judd Interviews, Is Easle Painting Dead?
Panel Discussion with Barbara Rosen (moderator), Darby Bannard, Larry Poons and Robert Rauschenberg, November 10, 1966, p. 104-146


Location of the sculpture Zeitsprung/Time Jump, 2019-2040:
Gruenanger Park
Angergasse 78, 8041 Graz, Austria

Public transport from Jakominiplatz, Graz
Bus 34E Willi-Thaller Straße
Bus 34 Dr. Plochl Straße

By car to the entrance:
Dr. Plochl Straße corner Andersengasse

Please be considerate of neighbouring residents when visiting.


Daniela Haberz, M.A., Curator & Collection Adviser
AØH Art Consultancy Haberz E.u.
Wealth Management limited to the assessment
in moveable assets in Art & Art Investment

Head office: Schörgelgasse 32/1/6, 8010 Graz, Austria
Exhibition space: Bell Tower ‘Liesl’ Graz, Schlossberg 6, 8010 Graz, Austria
Mobile: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

 

 

‘The Great Exhibition’ by Gilbert & George at Reykjavik Art Museum in Reykjavik, Iceland

Gilbert & George’s exhibition titled ‘The Great exhibition’ shows early works and newer work which I have seen for the first time in 1999 at Milton Keynes Gallery when they were presented to the public in this newly inaugurated art space.

Briefly I got introduced to the artists who are definitely an artist duo attracting attention alone with their appearance alone. Being in their company I could compare to meeting the artist duo Eva & Adele only that Gilbert & George are very particular due to their gentlemen-like outlook and behaviour.

After that I have seen their work at Jay Joplin’s White Cube Gallery and the screening of their very early movies at Lux Gallery after the opening of their solo show.

Documenting Gilbert & George’s exhibition in Reykjavik Art Museum I took some time to photograph & filmic footage and when nearly through I noticed that there was something essential missing, their early video work, which in my opinion is key to understand their working approach putting themselves in the centre of their work basically portraying themselves very intimate and from a personal angle.

Their early video work gives access to their working approach and in my view is essential to a retrospective of that vastness.

Please find below a video tour through the exhibition:

Gilbert & George are represented by Lehmann Maupin Gallery, New York which I work for as an Art Consultant.

If you have queries about the exhibition or whom to get in touch with at Gilbert & George’s New York Gallery please do not hesitate to get in touch with me under my Austrian mobile no. +43 664 182 8678 or via e-mail under: dhaberz@artconsultancyhaberz.org

All my best wishes from Iceland,

Daniela Haberz, M.A.

Wealth Adviser for Art as Investment

AØH Art Consultancy Haberz E.u.

 

Studio visit at Olafur Eliasson’s Reykjavik satellite space

 

Today, we have visited the satellite studio space Olafur Eliasson is working at when in Iceland.

The space is a refurbished fish market hall transformed into little galleries and Olafur Eliasson’s studio that serves for display of his latest work.

Today, I learned from his assistant that Danish-Icelandic visual artist Olafur Eliasson has as well been involved in the design of the Harpa Concert Huís which in my opinion is clearly visible in the facade.

In comparison we can reference Eliasson’s interior sculpture in Oslo Concert Hall, which we visited last year.

Tomorrow, Saturday, 22nd of August 2020 starting from 12.00 p.m. there will be two exhibition openings in the Marshall Building where Eliasson’s studio is housed and it will be open as well for those in town who missed it.

Enjoy the visual material to get a glimpse of Eliasson’s latest endeavours, which partly have been realised for the studio space in Reykjavik anew.

All my best from Iceland,

Daniela Haberz, M.A.

Curator & Wealth Adviser for Art as Investment

AØH Travel Reykjavik, Iceland – Harpa Concert Hús

Harpa Concert Hall, Reykjavik, Iceland 2020 Bildrechte/ Credits: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland 2020 Bildrechte/ Credits: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Dear friends of the AØH Art Consultancy Haberz,

This year the AØH Journey has brought us to Reykjavik in Iceland to enjoy contemporary art, architecture & the local kitchen.

The Harpa Concert Hall is the first building that I documented today and we will continue tomorrow with Culture Hús, National Museum & the local church. On Thursday, the day after a studio visit to Olafur Eliasson’s space in Reykjavik is scheduled.

Harpa Concert Hall, Reykjavik, Iceland
Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Harpa Concert Hall, Reykjavik, Iceland Copyright: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

If you are currently here in Reykjavik feel free to join. Let me know under my Austrian mobile no.: +43 664 182 8678 or my private office e-mail: dhaberz@attconsultancyhaberz.org

For those at home or sonewhere else, enjoy the summer and photographic documentary with art criticism on our website.

All my best from Reykjavik,

Daniela Haberz

Curator, Wealth Adviser for Art as Investment & Independent Art Critic

Einweihung ‘Zeitsprung’ von Alfredo Barsuglia im Skulpturengarten an der Mur, Graz, Austria

Zeitsprung/ Time Jump, 2019- 2040 by/ von Alfredo Barsuglia

Die Einweihung dieses ersten Projektes des Skulpturengarten an der Mur und dadurch die Einweihung am 09.11.2019 begann mit einer Baumpflanzung, eine Cloak & Dagger Aktion, könnte man sagen, da es im beginnenden Winter sehr rasch dunkel geworden ist, zu Deutsch würde man sagen Nacht und Nebel Aktion, natürlich offiziell bewilligt und von den Behörden abgesegnet.

Die Auswahl des richtigen Steines war durch die gute Zusammenarbeit und Baustellenbesuch bei der ARGe Murkraftwerk Firma Porr Granit möglich, Christian half bei der Auswahl und Herbert unser Baggerfahrer hat den an die tausend Kilo schweren Stein, der von mir ausgewählt wurde um sich ins Konzept der Murpromenadengestaltung und Parkgestaltung entlang der Mur einzufügen.

Gleichzeitig wurde der fünf-jährige Buchenbaum, der laut Konzept von Barsuglia bei Pflanzung dieses Alter hatte, um 2040, dann 26 Jahre alt, mit einer kleinen eingekerbten Ritzzeichnung versehen wird, die Barsuglia, wie er sagt anbringt, sofern er und der Baum noch leben. Der Baum gedeiht prächtig und ist über den Winter und Frühling sehr gut angewachsen, also sollte dies kein Problem ergeben.

Das Gestaltungskonzept im Park selbst, der als Kinderspielplatz und Skateboardpark genutzt wird, ergab die Baumpflanzung genau in einer diagonalen Linie, sodass drei Bäume unterschiedlichen Alters und dadurch Größe genau über die Distanz hinweg zu sehen sind.

Der kürzlich laut Konzept platzierte Stein wurde vor dem Baum platziert und dient gleichzeitig als Sitzmöglichkeit für Kinder, Jugendliche und Eltern, wenn sie im Park spielen oder Skateboard fahren.

Ich bedanke mich an dieser Stelle nochmals recht herzlich bei Christian und Herbert und dem ganze Baustellenteam, für die Möglichkeit der raschen Umsetzung nach Auswahl des Steines. Wie ich zu Christian gesagt habe, ich finde es toll, dass er ‘hands on’ ist, wie man im Britischen sagt, also ein Mann der Tat, der Stein wurde sofort von der Baggerschaufel aufgehoben, durch den Park transportiert und platziert.

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Die Widmungstafel wurde ein paar Tage später fachgerecht durch Gregor Neubauer, einem der letzten Steinmetze, der noch Handarbeit mit Meißel und Hammer leistet, fachgerecht angebracht und kündigt nun Barsuglias Intervention am Samstag, 05. Mai im Jahr 2040 an, welche diese Arbeit noch weiterentwickelt.

Nun haben wir jedoch noch ein Datum näher der Zeit um zusammenzukommen und den Skulpturengarten an der Mur, der sukzessive neue Kunstinstallationen entlang der Mur im öffentlichen Raum umsetzen wird, erneut einzuweihen.

Am Donnerstag, 10. September 2020 um 16:30 bis 17:30 Uhr findet ein kurzes Künstlergespräch zwischen dem Grazer Künstler Alfredo Barsuglia und mir als Kuratorin & Leiterin des Skulpturengartens an der Mur statt, wo noch näher auf die Arbeit des Künstlers eingegangen wird.

Ein Projekt von Alfredo Barsuglia für die AØH Art Consultancy Haberz E.u.

Wir freuen uns auf Ihr/ Dein Kommen und bitten um Anmeldung unter: dhaberz@artconsultancyhaberz.org oder unter +43 664 182 8678

Herzliche Grüße und bis bald

Daniela Haberz, M.A.
Kuratorin & Sammlungsberaterin

Standort der Skulptur: Grünanger Park
Anfahrt Öffis vom Jakominiplatz, Graz
Bus 34E Willi-Thaller Straße
Bus 34 Dr. Plochl Straße

Anfahrt mit Auto zum Zugang:
Dr. Plochl Straße Ecke Andersengasse

Wir bitten bei Besuch auf Anrainer Rücksicht zu nehmen.


Daniela Haberz, M.A., Kuratorin & Sammlungsberaterin
AØH Art Consultancy Haberz E.u.
Gewerbliche Vermögensberatung, eingeschränkt auf die Veranlagung der sonstigen beweglichen Sachanlagen im Bereich Kunst und Kunstinvestment

Sitz: Schörgelgasse 32/1/6, 8010 Graz
Mobil: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org


Time Jump, 2019-2040 by Alfredo Barsuglia – Landscape view

Inauguration: Thursday, 10th September 2020 at 4.30 until 6.00 p.m. with conversation between the artist Alfredo Barsuglia and Daniela Haberz, M.A. Curator & Head of the Sculpture Garden on the River Mur

Location: Gruenanger Park
(behind the skateboardpark)

Further details on how to get there can be found below.

The sculpture Time Jump, 2019-2040 by Austrian artist Alfredo Barsuglia, developed for the Sculpture Garden on the River Mur after my concept 3.000 Nut & Chestnut Trees for Graz with Sculpture Garden on the River Mur and Art Boat Mile in 2018, referencing Joseph Beuys’ art project 7.000 Oaks, City Forestry instead of City Municipality has been finalised and can be found in the Gruenanger playground (behind the skateboard court).

The inauguration of this first project in the framework of the Sculpture Garden on the River Mur on 9th November 2019 started with the plantation of a common hornbeam tree (Carpinus betulus), a cloak and dagger-like mission, of course officially approved and permitted by City of Graz municipalities.

The choice of the right stone was made possible by the consortium Mur Power Plant Porr Granit, Christian assisted in the choice and Herbert our wide-bucket excavator driver has lifted and placed the stone, about one ton in weight precisely at the determined location embedding it in the Mur promenade city planning conception and the landscape architecture of the park itself.

At the same time the common hornbeam tree, five years of age at time of the plantation, conceptually chosen by Barsuglia to count 26 years in 2040, the point in time of his engraving intervention, creating a small drawing in the birch of the tree.
Like he states, in case of him and the tree still being alive. The tree is flourishing perfectly and has been rooted well over the winter and spring, therefore this should be feasible without any opposing issue.

The conceptual landscape design of the park itself, used as playground for kids and skateboard court, resulted in positioning the tree in a virtual diagonal line between three trees of different age and therewith size, aligning and visible across the distance throughout the landscape.

The stone, recently placed in front of the tree after Barsuglia’s concept, furthermore serves as a seating place for kids, the youth and parents, if they play or skateboard in the park.

At this stage I would like to express my gratitude to Christian and Herbert and the entire building site team, for the fast implementation after the choice of the stone.
Like I told Christian I liked his hands on approach, a man of achievement, the stone immediately grabbed by the wide-bucket of the excavator, transported through the park and positioned perfectly.

The info plaquette has been placed professionally by Gregor Neubauer, one of the last chisellers of his guild that still works manually with hammer and chisel and announces Barsuglia’s intervention on Saturday, 5th of May 2040 on which day he will further develop his artwork by engraving the drawing in the birch of the tree.

The next date nearer in time is Thursday, 10th of September 2020 at 4.30 until 5.30 p.m. to get together and inaugurate the Sculpture Garden on the River Mur once more with the presentation of the finalised sculpture by Alfredo Barsuglia and a conversation between the artist and myself as curator and Head of the Sculpture Garden of the River Mur, to provide a more in-depth view on Barsuglia’s artistic practise.

A project by Alfredo Barsuglia for the Sculpture Garden on the River Mur and AØH Art Consultancy Haberz E.u. marking the beginning of further public art projects in the framework of the conversion of the River Banks in Graz, Austria.

We are looking forward to your participation, please R.S.V.P. under: dhaberz@artconsultancyhaberz.org or my mobile phone no. +43 664 182 8678

All my best and see you all soon,

Daniela Haberz, M.A.
Curator & Collection Adviser


Location of the sculpture:
Gruenanger Park
Angergasse 78, 8041 Graz, Austria

Public transport from Jakominiplatz, Graz
Bus 34E Willi-Thaller Straße
Bus 34 Dr. Plochl Straße

By car to the entrance:
Dr. Plochl Straße corner Andersengasse

Please be considerate of neighbouring residents when visiting.


Daniela Haberz, M.A., Curator & Collection Adviser
AØH Art Consultancy Haberz E.u.
Wealth Management limited to the assessment
in moveable assets in Art & Art Investment

Head office: Schörgelgasse 32/1/6, 8010 Graz
Mobile: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org

Restless von/ by Joerg Auzinger – Zu Gast am Schlossberg 2020 – Eröffnung am 17. Juli 2020 um 16:00 Uhr

Restless I, 2020 von Jörg Auzinger Credit: Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Restless I, 2020 von Jörg Auzinger Bildrechte: Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Sehr geehrte Damen & Herren,
Liebe Freundinnen & Freunde der AØH Art Consultancy Haberz,

Die Ausstellung Restless von Jörg Auzinger wurde erfolgreich abgeschlossen, mit gesamt 1.119 Besucher_innen war sie für die gegebenen Verhältnisse gut besucht und wurde unter strenger Einhaltung der gesetzlichen Sicherheitsbestimmungen innerhalb von vier  Wochen mit 14 Öffnungstagen durchgeführt.

Um die Kunst von Jörg Auzinger auch längerfristig zu unterstützen und einen Mehrwert für den Künstler zu bieten ist eine Realisierung und permanente Aufstellung des Kunstwerkes Restless I, 2020, das im heurigen Jahr im Rahmen von Auzinger’s Ausstellung im Glockenturm entstanden ist  und im öffentlichen Raum im Rahmen des Skulpturengarten an der Mur einen permanenten Aufstellungsort finden soll.

Zusätzlich erscheint wieder ein Kunstbuch in limitierter Auflage, das im April 2021 vorgestellt wird.

Wir bedanken uns nochmals bei unseren Fördergeber_innen und Sponsor_innen, der Immobilienabteilung der Stadt Graz, dem Land Steiermark Europa, Kultur & Sport, der Stadt Graz Kultur und dem Bürgermeister der Stadt Graz, Sigfried Nagl für  ihre Unterstützung.

Mit besten Grüßen

Daniela Haberz, M.A.

Kuratorin & Sammlungsberaterin für Kunst als Investition


Die Ausstellung Restless von Jörg Auzinger eröffnete am 17.07.2020 um 16:00 bis 20:00 Uhr. Im Rahmen der Eröffnung wurde das neueste AØH Kunstbuch der Vorjahresausstellung Kreation der Natur von Anna Werzowa, das  im März 2020 publiziert wurde, dem Publikum vorgestellt.

Die Ausstellungsdauer war bis 15.08.2020 an diesem Tag fand die Finissage von 11:00 bis 16:00 Uhr statt.

Geöffnet war die Ausstellung Donnerstag & Freitag von 14:00 – 18:00 Uhr und Samstags von 11:00 – 14:00 Uhr.

Näheres zur Ausstellung und den Pressetext finden Sie unten stehend.

Bei Rückfragen bin ich zu den Bürozeiten Montag bis Freitag von 09:00 bis 13:00 Uhr telefonisch unter: 0664 182 8678 oder per E-mail unter: dhaberz@artconsultancyhaberz.org wie gehabt für Sie/ Dich erreichbar.

Wir bedanken uns für die Unterstützung unseren Sponsoren Immobilienabteilung der Stadt Graz, sowie  unseren Förderstellen Land Steiermark, Europa, Kultur & Sport und der Stadt Graz Kultur sowie dem Bürgermeister der Stadt Graz für ihre Unterstützung.

Mit besten Grüßen

Daniela Haberz, M.A.
Kuratorin & Projektleiterin


Dear Sir/ Madame,
Dear friends of the AØH Art Consultancy Haberz,

The exhibition Restless by Joerg Auzinger opens on 17th of July 2020 at 4.00 till 8.00 p.m. at the Bell Tower Graz on Schlossberg Mountain. In the framework of the opening the latest AØH Publication, published in March 2020 as documentation of Anna Werzowa’s last year exhibition Creation by Nature will be presented to the public.

The exhibition is open until 15th of August, on that day the closing reception will take place at 11:00 a.m. until 4.00 p.m.

Opening hours: Thursday & Friday 2.00 – 6.00 p.m. and Saturdays from 11.00 a.m. till 3.00 p.m.

Further information and the press release can be found below.

Please do not hesitate to contact me during office hours from Monday to Friday from 09.00 a.m. to 1.00 p.m. under +43 664 182 8678 or via e-mail under: dhaberz@artconsultancyhaberz.org

We would like to thank our sponsor Real Estate Department of the City of Graz as well as County of Styria Europe, Culture & Sports and City of Graz Culture as well as the Mayor of the City of Graz for their continuing support.

All my best,

Daniela Haberz, M.A.
Curator & Head of project


Eröffnung: Freitag, 17.07.2020 16:00 – 20:00 Uhr
Dauer: 18.07. – 14.08. 2020
Finissage: Samstag, 15.08.2020 11:00 – 16:00 Uhr

Ort: Glockenturm am Grazer Schlossberg,
        Schlossberg 6, 8010 Graz

Öffnungszeiten: Donnerstag und Freitag, 14:00 – 18:00 Uhr
Samstag: 11:00 – 14:00 Uhr


Please scroll down for English version


Installationsansicht Adjustierung des Gluecks I, 2015 in Restless von Joerg Auzinger im Rahmen von Zu Gast am Schlossberg Juli Aug 2020 © Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Installationsansicht Blind Spot II, 2010 & Clarification, 2015 in Restless von Joerg Auzinger Zu Gast am Schlossberg Juli Aug 2020 © Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Installationsansicht Restless I, 2020 & Destinesia VII, 2020 von Joerg Auzinger Zu Gast am Schlossberg Juli Aug 2020 © Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Installationsansicht Trägheit der Bilder, I&II, 2010 in Restless von Jörg Auzinger Zu Gast am Schlossberg Juli Aug 2020 © Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Paradise Placement, 2020 von Joerg Auzinger in Restless Zu Gast am Schlossberg Juli Aug 2020 © Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Installationsansicht Void Screens, II, 2009 in Restless von Joerg Auzinger Zu Gast am Schlossberg Juli Aug 2020 © Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Die Ausstellung Restless des Medienkünstlers Jörg Auzinger zeigt eine Auswahl seiner aktuellen Werke, in Gegenüberstellung mit bereits vorhandenen Werken. Zwei Arbeiten sind anlässlich der Ausstellung neu entstanden, die Videoinstallation Paradise Placement, 2020 welche die Besucher_innen in einem von ihm entwickelten Glaskasten zeigt, sobald man den Ausstellungsraum betritt. Man sieht sich selbst im ‘gläsernen Turm’, der unsere Welt heutzutage durchgängig ausmacht, wir werden quasi durchsichtig, abgebildet im Auge der Bevölkerung, den Fußabdruck, den wir in sozialen Medien hinterlassen, wenig oder kaum revidierbar.

Die Installation Restless, 2020, die eigens für die Ausstellung durch Sponsoring einer ausgesonderten Grazer Straßenlaterne entsteht, erweckt den Anschein des Hin- und Herwiegens ihres Lampenkopfes und symbolisiert unsere Rastlosigkeit, im Alltag und der modernen Arbeitswelt. Der Künstler Jörg Auzinger hinterfragt, ob dies nötig sei, zugleich beinhaltet das Wort jedoch auch Resting, das Ankommen und Innehalten, man nimmt sich Zeit, als Besucher_innen zu pausieren und das Kunstwerk Auzinger’s genauer in Augenschein zu nehmen. Menschliche Laute werden als zusätzliche Ebene zu den lichtgebenden Impulsen, hörbar umgesetzt, eine Installation, die alle Sinne anspricht. Zusätzlich ist ein wesentlicher Punkt die Nutzung der Grazer Straßenlaterne, die eine neue Funktion und Bedeutung bekommt, zuerst als Lichtquelle um die Straßen von Graz zu erleuchten genutzt, welche auch Sicherheit für die Bevölkerung mit sich bringt, gleichzeitig ersetzt wurde und nun durch Auzinger’s künstlerische Handschrift eine erweiterte und neue Bedeutung bekommt.
Ein Lebenszyklus von obsolet geworden, zur Verwandlung in ein Kunstwerk mit Klang, der Laute hörbar macht, die ein Baby im Bauch der Mutter wahrnimmt, bis hin zur geplanten permanenten Aufstellung als Kunstwerk im öffentlichen Raum im Rahmen des Skulpturengarten an der Mur. Für die Ausstellung und im Auftrag der AØH Art Consultancy Haberz E.u. neu entstanden.

Restless I, 2020 von/ by Jörg Auzinger
© Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Eine kuratorische Auswahl bereits bestehender Kunstwerke Auzinger’s zeigen seine langfristige künstlerische Beschäftigung im Bereich Medienkunst, mit beweglichen Objekten und statischen Fotografien, die in meinem kuratorischen Konzept im Glockenturm die Besucher_innen durch seine künstlerische Sichtweise leiten und sein Werk dem Grazer Publikum näher bringt.

Hier eine kurze Version des interaktiven Videos Paradise Placement, das für die Ausstellung entstanden ist:

Paradise Placement, 2020 by/ von Jörg Auzinger
© Daniela Haberz, M.A. für die AØH Art Consultancy Haberz E.u.

Der Künstler sagt zur Ausstellung und seiner Arbeitsweise selbst:

Ich beschäftige mich in meiner Arbeit intensiv mit Bedeutung von Bildern und vor allem mit Geschichten, die Fotografien erzählen, die nicht unbedingt im Bild erkennbar sind. Wenn ich ein Foto sehe, versuche ich oft mir den gesamten Ort und die gesamte Location vorzustellen. Wie sehen die Bereiche aus, die nicht auf dem Bild zu sehen sind. Was liegt ausserhalb des Bildausschnittes? Beziehungsweise interessiert mich auch der Moment als der Auslöser gedrückt wurde. Was ist vorher und was ist danach passiert. Ein Bild erzählt also deutlich mehr als aus dem Medium zu sehen ist. und es geht auch immer um persönliche Wirklichkeiten, Erinnerungen und Assoziationen. Jede Person liest ein Bild somit völlig anders und individuell. 

Pressetext Deutsch: Pressetext Restless Joerg Auzinger Zu Gast am Schlossberg Juli August 2020

Wir bedanken uns recht herzlich bei unseren Sponsoren & Fördergeber_innen und freuen uns auf Berichterstattung 

mit herzlichen Grüßen

Daniela Haberz, M.A.
Kuratorin & Projektleiterin

A9_Kultur_Europa_Sport Logo stadt-graz  immobilien_stadt  Logo Art Consultancy Haberz_neu


Kontakt:

AØH Art Consultancy Haberz E.u.
Daniela Haberz, M.A., Leiterin
Gewerbliche Vermögensberatung, eingeschränkt auf die Veranlagung der sonstigen beweglichen Sachanlagen im Bereich Kunst und Kunstinvestment

Ausstellungsort während der Ausstellungstermine:
Grazer Glockenturm, Schlossberg 6, 8010 Graz

Büroadresse: Schörgelgasse 32, 8010 Graz, Austria
E-mail: dhaberz@artconsultancyhaberz.org
Mobile: +43 664 182 8678
Web: http://www.artconsultancyhaberz.org

Künstlerwebsite: http://www.auzinger.net


Opening: Friday, 03rd of April 2020 4.00 – 8.00 p.m.
Duration: 04th of April – 08th of May 2020
Closing reception: Sat., 09th of May 2020 11.00 a.m. – 04.00 p.m.

Place: Glockenturm on Grazer Schlossberg,
            Schlossberg 6, 8010 Graz

Opening hours: Thursday & Friday, 2.00 – 6.00 p.m.
                             Saturday: 11.00 a.m. – 2.00 p.m.


The exhibition Restless by Austrian artist Joerg Auzinger presents a selection of his current oeuvre counter-positioned with existing works. Two of which have been created especially for his solo show in the framework of Visiting Schlossberg Mountain. The video installation Paradise Placement, 2020 shows the visitor in a virtual glass cube upon entering the exhibition space. We see ourselves in the ‘Glass Tower’ symbolising our visibility, nearly see-through in the eye of the public in our day-to-day life, the footprint we leave behind in our society and social media, nearly or not at all reversible.

The installation Restless, 2020 realised by sponsoring of an obsolete street lantern from Graz gives the impression of moving its head back and forth slowly and symbolises our restlessness in todays day-to-day and modern working life. The artist poses the question if this is necessary at the same time the additional meaning of the word ‘Resting’ implies arriving and remaining to pause and take time to thoroughly view and engage with Auzinger’s art. Audible human noises are created in addition to pulsating light which involves all of our senses. In addition the use of a redundant street lamp, formerly used to safe-guard and provide security on our streets in Graz, Austria is essential in providing the object with a new function. A life circle between redundancy to an art object with sounds a baby would hear in the mothers womb towards a new life as a permanent sculpture, planned to be located in the public space in the framework of the Sculpture Garden on the River Mur in Graz, Austria.
Developed for the exhibition and commissioned by the AØH Art Consultancy Haberz E.u.

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Restless III, 2020 © Jörg Auzinger für die AØH Art Consultancy Haberz E.u.

A curatorial choice of existing objects by the artist Joerg Auzinger show his long-lasting artistic engagement in media art, with moving objects and static photography presented in the Bell Tower after my curatorial concept to guide the visitor through his artistic approach presenting his art to the public in Graz, Austria.

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Paradise Placement, 2020 © Jörg Auzinger

The artist says to his working method himself: 

In my work I intensively engage with the meaning of images and with the story photography is telling not necessarily recognisable in the picture itself. When I see a photograph I try to envision the entire space as well as the location. How do the parts look like which are not shown in the picture itself. What lies beyond the borders of the image? As well the moment at which the picture was taken is of interest to me. What happened before and after. A picture tells more than portrayed in its medium. Personal realities, memories and associations are a major factor as well. Every person reads an image differently and from an individual standpoint.

Press Release English: Press Release Restless Joerg Auzinger Visiting Schlossberg Mountain Juli August 2020

We would like to thank our sponsors and funding parties and look forward to your reviews.

With best wishes,

Daniela Haberz, M.A.
Curator & Head of Project

A9_Kultur_Europa_Sport Logo stadt-graz  immobilien_stadt  Logo Art Consultancy Haberz_neu


Contact:

AØH Art Consultancy Haberz E.u
Daniela Haberz, M.A., Executive Director
Commercial Wealth Management limited to Assessment in moveable assets in the fields Art & Art Investment

Exhibition space during exhibitions:
Bell Tower Graz, Schlossberg 6, 8010 Graz, Austria
Office address: Schörgelgasse 32, 8010 Graz, Austria
E-mail: dhaberz@artconsultancyhaberz.org
Mobile: +43 664 182 8678
Web: http://www.artconsultancyhaberz.org

Artist website: http://www.auzinger.net

Jahresprogramm 2020 – Zu Gast am Schlossberg

Skulptur von Dan Graham

Skulptur von Dan Graham

Sehr geehrte Damen & Herren,
liebe Sponsor_innen & Fördergeber_innen,
liebe Freund_innen der AØH Consultancy Haberz,

Wir freuen uns das offizielle Ausstellungsprogramm für 2020 bekannt geben zu dürfen, das vier Ausstellungen beinhaltet, welche im Grazer Glockenturm unter dem Titel der seit 2015 stattfindenden Ausstellungsreihe Zu Gast am Schlossberg unter dem Kuratorium & der Projektleitung von Daniela Haberz, M.A. Umsetzung finden.

Wir bedanken uns bei unseren Fördergebern dem
Land Steiermark Kultur & Außenbeziehungen, der Stadt Graz Kultur & dem Bürgermeisteramt der Stadt Graz, sowie unserem langjährigen Sponsor der Immobilienabteilung der Stadt Graz für Ihre Unterstützung.

Mit herzlichen Grüßen

Daniela Haberz, M.A.
Kuratorin & Projektleiterin
AØH Art Consultancy Haberz

     


Art Ark/ Brückenschlag der Kunst 2019
Workshopergebnisse des Akademischen Gymnasium & Glockenturmbesucher_innen 2019 – wird verschoben

Aquarius von Rachele

Aquarius von Rachele

Eröffnung: Freitag, 20.03.2020 16:00 – 20:00 Uhr
Dauer: 21.03. bis 27.03.2020
Finissage: Samstag, 28.03.2020 von 11:00 – 16:00 Uhr
Ort: Glockenturm, Schlossberg 6, 8010 Graz
Öffnungszeiten: Donnerstag, Freitag von 14:00 – 18:00 Uhr &
Samstags von 11:00 – 14:00 Uhr

Die Ausstellung zeigt die Workshopergebnisse der Schüler_innen des Akademischen Gymnasiums, die im Rahmen der Ausstellung Horizont von Alfredo Barsuglia im Oktober/ November 2019 entstanden sind. Die Workshops wurden in Zusammenarbeit mit Frau Professorin Helga Kikel unter der Workshopleitung von Daniela Haberz, M.A. im Akademischen Gymnasium und im Glockenturm umgesetzt. Zusätzlich gibt es Zeichnungen von Kindern und Jugendlichen zu sehen, die im Zuge der Ausstellung entstanden sind.


Restless Lights  – Perpetual Motion von Jörg Auzinger

Restless, 2020 von Jörg Auzinger

Eröffnung: Freitag, 03. April 2020 von 16:00 – 20:00 Uhr
Dauer: 04.04.2020 bis 08.05.2020
Finissage: Samstag, 09. Mai 2020 von 11:00 – 16:00 Uhr
Ort: Glockenturm, Schlossberg 6, 8010 Graz
Öffnungszeiten: Donnerstag, Freitag von 14:00 – 18:00 Uhr &
Samstags von 11:00 – 14:00 Uhr

Die Ausstellung Restless Lights – Perpetual Motion des Medienkünstlers Jörg Auzinger zeigt eine Auswahl seiner aktuellen Werke in Gegenüberstellung mit bereits vorhandenen Werken. Zwei Arbeiten sind anlässlich der Ausstellung neu entstanden, die Videoinstallation Paradise Placement, 2020 welche die Besucher_innen in einem von ihm entwickelten Glaskasten zeigt, sobald man den Ausstellungsraum betritt. Man sieht sich selbst im ‘gläsernen Turm’, der unsere Welt heutzutage  durchgängig ausmacht, wir werden quasi durchsichtig, abgebildet im Auge der Bevölkerung, den Fußabdruck, den wir in sozialen Medien oder der Öffentlichkeit hinterlassen, wenig oder kaum revidierbar.

Die Installation Restless Lights, 2020, die eigens für die Ausstellung durch Sponsoring einer ausgesonderten Grazer Straßenlaterne entsteht,  bewegt sich der Lampenkopf durch Sensoren leicht hin uns her und symbolisiert unsere Rastlosigkeit, im Alltag und der modernen Arbeitswelt.

Der Künstler Jörg Auzinger hinterfragt, ob dies nötig sei, zugleich beinhaltet das Wort jedoch auch Resting, das Ankommen und Innehalten, man nimmt sich Zeit, als Besucher_innen zu pausieren und das Kunstwerk Auzinger’s genauer in Augenschein zu nehmen. Menschliche Laute werden als zusätzliche Ebene zu den lichtgebenden Impulsen, hörbar umgesetzt, eine Installation, die alle Sinne anspricht.

Zusätzlich ist ein wesentlicher Punkt die Nutzung der Grazer Straßenlaterne, die eine neue Funktion und Bedeutung bekommt, zuerst als Lichtquelle um die Straßen von Graz zu erleuchten genutzt, welche auch Sicherheit für die Bevölkerung mit sich bringt, gleichzeitig ersetzt wurde und nun durch Auzinger’s künstlerische Handschrift eine erweiterte und neue Bedeutung bekommt.

Eine kuratorische Auswahl bereits bestehender Kunstwerke Auzinger’s zeigen seine langfristige künstlerische Beschäftigung im Bereich Medienkunst, mit beweglichen Objekten und statischen Fotografien, die in meinem kuratorischen Konzept im Glockenturm die Besucher_innen durch seine künstlerische Sichtweise leiten und sein Werk dem Grazer Publikum näher bringt.


Kunst trifft Handwerk – Robert Klug & Team

Surfboard by Robert Klug & Team

Surfboard von Robert Klug & Team

Eröffnung: Freitag, 17. Juli 2020 von 16:00 – 20:00 Uhr
Dauer: 18.07. – 14.08.2020
Finissage: Samstag: 15. August 2020 von 11:00 – 16:00 Uhr
Ort: Glockenturm, Schlossberg 6, 8010 Graz

Öffnungszeiten: Donnerstag, Freitag von 14:00 – 18:00 Uhr &
Samstags von 11:00 – 14:00 Uhr

Der junge Grazer Robert Klug zeigt das von ihm und seinem Team entwickelte Surfbrett, das in der Steiermark aus Holz gefertigt wird. Es werden auch weiterführend Workshops angeboten, die Möglichkeit für eigenes Fertigen eines Surfbrettes ermöglichen.

Wir stellen den Prozess der Herstellung vor und zusätzlich erweitern Fotografien und Skizzen den Prozess des Entstehens und der Nutzung des Surfbrettes auch hinsichtlich der in Graz im Zuge der Neugestaltung der Murpromenade geplanten Wassersportwelle, die im Bereich der Hauptbrücke durch die Stadt Graz umgesetzt wird.

Das Surfbrett steht weiterführend als Markierung dieses Sporttreffpunktes als Objekt im Öffentlichen Raum und wird im Zuge der Ausstellung für den Skulpturengartens an der Mur realisiert. 


Gruppenausstellung Paintings Painted – Malerei gemalt
im Rahmen von Zu Gast am Schlossberg 2020

Max Kulich, Martin Brischnik & Walter Köstenbauer
versus
Reiner Heidorn & Tonino Gottarelli

Silk Lime von Max Kulich

Silk Lime von Max Kulich

Ghost Forest von Reiner Heidorn

Eröffnung: Freitag, 02. Oktober 2020 von 16:00 – 20:00 Uhr
Dauer: 03.10. – 06.11.2020
Finissage: Samstag: 07. November 2020 von 11:00 – 16:00 Uhr
Ort: Glockenturm, Schlossberg 6, 8010 Graz

Öffnungszeiten: Donnerstag, Freitag von 14:00 – 18:00 Uhr &
Samstags von 11:00 – 14:00 Uhr

Eine Gegenüberstellung von zwei Steirischen und einem Österreichischen Künstler mit zwei internationalen Pendants.

Den Ansatzpunkt stellt eine Beschäftigung mit Malerei dar, die wieder mehr in den Fokus gerückt werden soll. Moderne malerische Werke werden der zeitgenössischen Kunst gegenübergestellt und erstmalig in einer Gruppenausstellung umgesetzt. Die teilnehmenden intenationalen Künstler stammen aus Italien und Deutschland mit Vertretern Tonino Gottarelli im Rahmen einer Kooperation mit der Fondazione Tonino Gotarelli und dem jungen Künstler Reiner Heidorn aus Deutschland, als zweites Pendant zu unseren Steirischen Künstlern Martin Brischnik & Walter Köstenbauer und dem in der Steiermark und Wien arbeitenden Max Kulich.


Kontakt:

AØH Art Consultancy Haberz E.u.
Daniela Haberz, M.A., Kuratorin & Projektleiterin
Adresse: Schörgelgasse 32, 8010 Graz, Austria

Ausstellungsort: Grazer Glockenturm, Schlossberg 6, 8010 Graz
Öffnungszeiten während der Ausstellungszeiten:
Do & Fr 14:00 – 18:00 Uhr & Sa 11:00 – 14:00 Uhr

Mobil: +43 664 182 8678
E-mail: dhaberz@artconsultancyhaberz.org
Web: http://www.artconsultancyhaberz.org