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

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

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

AØH Travel London Oct 2020

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This year AØH Travel is going to Frieze Week in London.

In conversation about young Styrian and Austrian Art in comparison with emerging British Art with gallerist Jari Lager at Union Gallery, London


We joined Lehmann Maupin at the opening of their new art space in Mayfair

We visited Zabludowicz Collection and got a private VIP tour by the curator.

Link Tate Gallery: https://www.tate.org.uk


Link Hayward Gallery: https://www.haywardgallery.org.uk

Attention: Pre-registering necessary (see link above)

Open: Wednesday – Saturday, 11am – 7pm and Sunday, 10am – 6pm Monday and Tuesday closed

Southbank Centre
Belvedere Rd
Bishop’s
London SE1 8XX

Email: info@haywardgallery.org.uk
Call: +44 20 7960 5211


Link Whitechapel Gallery: https://www.whitechapelgallery.org

Whitechapel Gallery
77-82 Whitechapel High St
London E1 7QX

Call: +44 (0)20 7522 7888
Email: info@whitechapelgallery.org


Link: Lehmann Maupin, South Kensington, London: https://www.lehmannmaupin.com/news/lehmann-maupin-london-opens-at-cromwell-place-in-october

1 Cromwell Place
South Kensington
SW7 2JE London

Opening hours: Wednesday–Saturday, 10 AM–6 PM
By appointment: Monday–Tuesday, 10 AM–6 PM
Email: london@lehmannmaupin.com


Link: Lisson Gallery, Mayfair, London: https://www.lissongallery.com/news/lisson-gallery-to-open-on-cork-street-mayfair

22 Cork Street
London
W1S 3NA

Call +44 (0)20 7724 2739
Email 
contact@lissongallery.com


At Union Gallery within the Programme of Frieze Week I am giving a talk on current projects of AØH Art Consultancy Haberz including Sculpture Garden on the River Mur and exhibitions in the series Visiting Schlossberg Mountain and Styrian Art.

Date: 09th of October 2020 at 3.00 – 4.30 p.m. (including Q&A)

Union Gallery, London: http://www.union-gallery.com

If someone is interested for me to include their work in my presentation please write to: dhaberz@artconsultancyhaberz.org and send your CV and portfolio.

In our spare time we take part in a service at Westminster Abbey like last year and visit

Westminster Abbey: https://www.westminster-abbey.org 
Kew Gardens: https://www.kew.org
Princess Diana Memorial Playground: https://www.royalparks.org.uk/parks/kensington-gardens/things-to-see-and-do/diana-memorial-playground

For the detailed program please get in touch under the below contacts.

All my best wishes,

Daniela Haberz, M.A.

Curator & Wealth Adviser for Art as Investment


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

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

 

 

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

AØH Recommendation: Astrup Fearnley Museet showing Damien Hirst & Anselm Kiefer

Astrup Fearnly Museum by architect Renzo Piano is one of the largest contemporary art museums I’ve visited so far.
Upon approaching the building I saw a bridge connecting two parts of the building which in comparison with Snøhetta’s Oslo Opera building connected the two part glass structure of the building with each other mainly using the materials wood and glass. In this manner there it created the sensation of openness a welcoming invitation to come inside and explore the building as well from the inside. In the back yard I saw a sculpture by Indian artist Anish Kapoor represented by Lisson Gallery, London: https://www.lissongallery.com

The main spaces however, are clearly distinct in terms of opening up to the sides and creating a vast feeling expanding to all sides of the space housing and counterpositioning contemporary art known to picture the art scene of the ‘Here and Now’ created anew with possibility to still get the insight from the artists first of hand. In a conversation with my flight seating neighbour we discussed the term contemporary and what it means yesterday and I could explain that contrary to the timewise adjacent Modernism the art has actually been created anew and quoting an article titled ‘Comrades of time’ by philosopher and art critic Boris Groys in the E-flux Reader ‘What Is Contemporary Art’? he stated as well already inherent in the title of his text that we are able to still be together with the artists defined as ‘Comrades’ of our current day-to-day life. Quoting from his article he says: Contemporary art deserves its name insofar as it manifests its own contemporaneity – and this is not simply a matter of being recently made or displayed. Thus the question ‘What is contemporary art’ implicates the question ‘What is the contemporary?’ How could the contemporary as such be shown? 1)

Adding to this notion I have curated a group exhibition at my then gallery space Para_SITE which was founded to showcase contemporary art mainly students of the art universities for Applied Arts & Academy of Fine Arts in Vienna and the FH Joanneum in Graz, Austria where the gallery was based in the city centre. The translation to German with a term I created was ‘Zeitgenöss_innen’ by choice gendering as in my curatorial practise I tried to equal both female as well as male artists being able to present their work in the small white cube space presenting themselves to the public for the first time or at first in a commercial context that supported their work with small or none at all commissions as funded by the local funding boards and the BMUKK today Bundeskanzleramt therefore being able to support the artists in this manner with sales solely benefiting themselves. To summerise in short ‘Comrades of Time’ equals ‘Zeitgenöss_innen’ inherent both comrades as Genöss_innen and ‘of Time’ Zeit’ reflecting the term ‘Zeitgenössisch’ in English ‘Contemporary’.
The art experience at Astrup Fearnley makes as well supported by the building itself best use of the curatorial concept presenting Contemporary Art counterpositioning and streching it like a conceptual web allowing for different settings depending on the point of view within the space and the location the visitor directs her or his gaze towards the curatorial positioning. Wandering around in the exhibition I realised that no matter where I stood the presentation of a handful of contemporary works always created a perfect setting allowing for several encompassing and clearly structured settings. The presentation was based on colour coding, sculpture versus painting or print works and conent-wise across the two open floors of the show. These curatorial concept I am using as well in my own curatorial practise as well connecting the three floors of my art space the landmark Bell Tower by means of Deja-vues reminding of the seen when walking from the ground floor to the second floor like a web created by the visual complexities of the human eye, just recently in Anna Werzowa’s exhibition ‘Creation by Nature’ making us experience her body of work by means of ‘Sichtachsen’ like being an insect exploring a space as we showcased her work incorporating her insects being presented using a technical as well as natural historic approach.
In the exhibition Private Passion New Aquisitions in the Astrup Fearnly Collection the curatorial display by Gunnar B. Kvaran opened up various assemblages of the works presented relating to each other nearly endlessly communicating with each other.
Like in my personal approach to art critisism and curatorial practise I choose one work to depart from on my personal journey or more concret my personal story I am telling about the experience when walking through the art display. This as well is incorporated in my ‘Art Ark/ Brückenschlag der Kunst’ educational programme as part of every exhibition in the framework of ‘Zu Gast am Schlossberg’ in English ‘Visiting Schlossberg Mountain’ opening up several stories to be told by means of the subjective approach by every visitor. Like the French philosopher Michel Foucault wrote the positioning and inherent spacial setting created new stories to be spread by word of mouth adding to the experience of the visit of galleries or in my case independent art space using the Bell Tower and creating a marketing possibility stronger than any other means of communication. The invisible web created by us as curators leads to an infinite communication about the art and every personal view is since the foundation of the exhibition series incorporated in my personal curatorial guided tours through the exhibitions as well being mentioned in the limited edition AØH Art Publication realised in the framework of every exhibition.
At the museum in Oslo the invisible web was enlarged by the museum guards wearing jackets with the printed text ‘Let’s Talk Art’ inviting to engage in discussion about what’s on view in a very reduced manner not forcing or inflicting an opinion on the viewer. This is as well my own approach simply being there when needed other than that experiencing the exhibition in solitude. Challenging for myself as an exhibition guide and guard at the same time engaging with the visitors on a personal level especially those who were bias last in Werzowa’s display and by means of an always doggerent approach suiting the requirements by the individual visitors creating an art experience that viewers can benefit from personally. As inherent in the commercial world the ‘Buyer is queen or king’ added to by myself ‘Everyone is treated equally be it doctor or professor as well as homeless or beggar. Funilly enough I habe tge experience that those dressed like homeless are most likely to buy art, probably like in my case that expensive clothing is not as important as the addiction to add to ones art collection.
Astrup Fearnly is currently housing a collection display under the title ‘Private Passion New Aquisitions in the Astrup Fearnley Collection’ and a survey with seminal works by German artist Anselm Kiefer curated by Natalia Granero and Gunnar B. Kvaran travelling to the Fondation Jan Michalski from 7th February until the 7th of April 2020. In the second adjecent space as well works by British artist Damien Hirst are on view which steem from his participation in ‘Sensation’ at the Royal Academy in 1997 marking the beginning of Britain’s art movement YBA (Young British Art) portraying the contemporary art scene of the late 90s in the United Kingdom mainly backed by Marketing Mongul Charles Saatchi. Years later after my thesis on the Investment strategy when buying Austrian Contemporary Art under the title ‘Is Austrian Contemporary Art a Good Investment’? leading to my answer to YBA and creation of the movement YACA (Young Austrian Contemporary Art) as the result of my research concluded in it being a good investment but the marketing and spread of notion as well as ankering in the public notion nationally but as well focusing mainly on internationalisation like once achieved by ‘Actionism’ in the 60s till 90s that gained international respect by means of attracting attention by performance art e.g. by Peter Weibel & Valie Export.
Anselm Kiefer’s Personale at the Astrup Fearnly Museum presented large scale works overwhelming both in size and strength maling us small besides them.
Relating to knowledge by means of showing journals and large scale sculptures of books the impression is created that reading books results in accumulation of knowledge making our life and the time spent worthwile. At the same time being monumental in size reflecting that knowledge is infinite as well creating a slightly pressuring sensation from my personal view. The pressure and at times depression knowledge about worrying content can lead to especially when portrayed in a ‘reisserisch’ writing style by some boulevard and yellow press news media frightening the public results in wrong impressions leading to fright and panic in our society. Secrets we often stumble upon or are leading to change and necessity to adapt to a new approach in our day-to-day life, like one might say: What we saw with a distant view years ago only known from far away countries informed about in television and daily press now happens right in front of our doorsteps. Like we donated around Christmas to children and as well as elderly or the poorest in need happens today right on our doorsteps and becomes frightening as we need to really face it not just write a cheque and not be further involved.
Once before we were made aware of war and destruction during the fachist and Nazi  times all accross the world, now we face fugitives dying on their way to reach secure and peacful lands being followed and imprissiond in their homecountries only because they state their personal views with society that suffers from repression and dictatorship.
Do we pay our debts to society to quiet our conscience or simply buy food for the homeless with a friendly supporting conversation  like in my case better than the payment which might reach organisations but not the suffering?
Key to the approach to provide shelter and support is in- not exclusion and our willingness to help by being open to the new that reaches us like here in Austria still our haven and island of security and peace. Why not share it with the suffering by being open to change and diminish our predigist. This is meant to be a credo by both locals as well as those asking for help. Racism is always both sided which I know from personal experience being treated racist by people from foreign countries still I stay true to my way to treat everyone equally not drift into being bias towards people from foreign countries strange to ourseves and our way of living.
Anselm Kiefer’s work left the impression on me that today’s world needs a more open approach towards inclusion in contrary to fierce rejection of things alien to our own culture and way of living. Standing between his large-scale sculptures amd manuscripts I felt like a little sandkorn in the wide array of the universe of wisdom. Inspired by his work I got a book with a text about his work and a small childrens’ tale Niels Holgerson which seemed related to the wide openess of the Nordic landscapes that this book is set in.
The next exhibition titled ‘The Great Exhibition’ will be by Gilbert & George who are represented by my new co-operation partner Lehmann Maupin based in London, Hong Kong & New York: https://www.lehmannmaupin.com/
The App of the Astrup Fesrnley Museum that can be downloaded for free gives further educational insight in the exhibitions on view or for those of us that prefer the analogue world like me, engage in a discussion with the museum guides as offered: ‘Let’s talk Art’!
All my best,
Daniela Haberz, M.A.
Curator & Independent Art Critic

1) Julieta Aranda, Brian Kuan Wood, Anton Vidokle: e-flux journal, What is Contemporary Art?, art. Boris Groys: Comrades of Time, p. 22, Sternberg Press New York, 2010

Copyright visual material & review: Daniela Haberz, M.A. for AØH Art Consultancy Haberz E.u.

Contact:
Daniela Haberz, M.A.
AØH Art Consultancy Haberz
Schörgelgasse 32, 8010 Graz, Austria
Mobile: +43 (0) 664 182 8678

Contact Anish Kapoor
Lisson Gallery, London

Contact Gilbert & George
Lehman Maupin Gallery, London/ New York

AØH Recommendation: Opera House in Oslo, Norway

Photographing and approaching the Oslo Opera House in Norway I came to the conclusion that the building has similarities with structures of pyramides.

Shapes that appeared continiously in the architectural concept by Norwegian Snøhetta are the triangle and the combination of two forms to a rectangle.

Small stairways with small steps led up on the side of the building cornering the triangle shaped seating area and bear similarities with the skyline of ancient pyramid structures.

The shadow on the side of the building added another layer to the building enlarging it by means of natural light.

As in my curatorial concepts, last in the exhibition ‘Creation by Natur’ by young Austrian artist Anna Werzowa in May/ June 2019, shadows are a main importance in my curatorial practice as this way the art can be put in perspective with the existing architecture. The newly created  art sculpture ‘Flight of the Dragonfly’, 2019 by Anna Werzowa was set in her exhibition in a triangle shape to  counterposition the art work with the existing architecture  of the Bell Tower on Schlossberg Mountain dating from the 15th century and by means of falling in daylight and artificial light, created shadows that prolonged the quadryptichon sculpture onto the surrounding walls of the landmark.

The light played an essential role in Snøhetta’s architectural concept too and by means of a large glass structure in the middle of the building that span from one side to the other and standing on the side slopes allowed to view the entire space inside from the outside. Mirroring glass reflecting sunlight created an additional conceptual level which I often include in my curatorial work as well.

In case of the contemporary architecture of the Oslo Opera a sculpture by the Danish Islandic artist Olafur Eliasson created light in the corners of the building that were not reached by daylight and as well spun the structure of the sculpture consisting of small triangle shapes  as well due to the glass structure near the sculpture that mirrored it to infinity.

As mentioned above the building has a clear reference to the ancient building methods of pyramides which Snøhetta brought to the Here and Now of contemporary Architecture and Art.

All my best,

Daniela Haberz, M.A.

Independent Art Advisor

AØH Art Consultancy Haberz E.u.

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