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

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

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

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
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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)

 

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

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