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

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

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

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

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

stiftung@artconsultancyhaberz.org

All my best for the AØH Family Trustee Board,

Daniela Haberz, M.A.

Wealth Manager for Assets within Art & Art Investment

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

The Sistine Chaple Revisited 2022/2023

The Sistine Chaple Ceiling by Michelangelo Buonarroti June 2022

 

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

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

Poison,  2020/2021 by Marina Abramović

Fire, 2020/2021 by Marina Abramović

Leap, 2020/2021 by Marina Abramović

Breath, 2020/2021  by Marina Abramović

Fire, 2020/2021  by Marina Abramović

Breath, 2020/2021 (Detail)  by Marina Abramović

 

 

 

 

 

Leap, 2020/2021 by Marina Abramović

Breath, 2020/2021 by Marina Abramović

Mirror, 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

Snake (Detail), 2020/2021 by Marina Abramović

 

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

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

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

Fagradalsfjall Vulcano, Reykjavikgur, Iceland August 2022

Fagradalsfjall Vulcano, Reykjavikgur, Iceland

Fagradalsfjall Vulcano, Reykjavikgur, Iceland

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

Prime Numbers, 2022 by Franz Josef Haas

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

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

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

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

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

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

Thirty Pieces of Silver, 1988/1989 by Cornelia Parker

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

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

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

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

The Sistine Chaple Ceiling by Michelangelo Buonarroti June 2022

The Sistine Chaple Ceiling by Michelangelo Buonarroti June 2022

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

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

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

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

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

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

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

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

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

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

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

Daniela Haberz, M.A.

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

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

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

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

All rights reserved October 2021 – August 2022

Head office:
AØH Art Consultancy Haberz e.U.

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

Office AT: Schoergelgasse 32, 8010 Graz, Austria

Exhibition space AT: Bell Tower Graz

Schlossberg 6, 8010 Graz, Austria

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

42 Princes Square, London W2 4AD, United Kingdom

Mobile AT: +43 676 952 0907

Mobile UK: +44 759 265 7030

E-mail: dhaberz@artconsultancyhaberz.org

Web: http://www.artconsultancyhaberz.org

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

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

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

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

London Office/ Büro London:

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

 

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

 

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

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

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

 

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.

_________________________________________________________________________________________________
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

YACA (Young Austrian Contemporary Art) and counterparts worldwide going New York May 5th until 14th 2021

The final curatorial selection has been made today and shows the Austrian painter Elisabeth Pfniss in counterposition with American conceptual artist Dan Graham. This way the arch between New York in the US and Graz in Austria is created.

The fragile work Frau in Rosé/ Woman in Rosé, 2020 by painter Elisabeth Pfniss is using several layers of paint in drip technique and a continuous over-painting process on Japanese paper that thereby becomes three-dimensional when shown unframed, like in her second series, last year in London becoming opaque when the light shines through and is a unique work of six parts.

The counterposition with the limited edition work Sketch for Two Way Mirror/ Hedge Arabesque, 2013 by American minimal and conceptual artist Dan Graham builds that bridge between Austria and the US and references the pavilions by the artists as his sculptural work.

The counter-position of the two artists shows the three-dimensionality that is absent but still to grasp by means of understanding the conceptual approach Dan Graham took to visualise the sculpture created, like a preview of what will be on view to make us understand what his sculptures look like, aiming to realise the work in real life. An architectural approach at the same time, to show what can be created. Lisson Gallery represents Dan Graham and thereby the bridge to his gallery is achieved at the same time, which we will visit during our stay in New York.

Elisabeth Pfniss’ three dimensional approach is fine and nearly not to grasp when the works are behind glass but upon second view these layers created over several weeks become visible.

Austria versus America and the bridge we build, very close when it comes to visual art and the time invested in the works, captured.

The exhibition series YACA (Young Austrian Contemporary Art) & counterparts worldwide has been developed in 2008 to promote Austrian Contemporary Art internationally and counter-position emerging contemporary artists with internationally renowned artists to increase the value of their art and allow for them to live of their artistic practise.

After extensive exhibitions in a small gallery space in the centre of the City of Graz in Austria from 2008-2012, the exhibition series Zu Gast am Schlossberg/ Visiting Schlossberg Mountain takes place since 2015 in the Bell Tower Graz on Schlossberg Mountain where artists are provided the possibility to create new installations, especially for this heritage protected building.

Last year in November 2020 the first international exhibition took place in London in our Baker Street office under the title Paintings Painted/ Malerei Gemalt going London 2020 which showcased art from Austria focusing on the region Styria surrounding Graz, Austria and three international positions Reiner Heidorn, Kathrin Weber and Tonino Gottarelli in collaboration with the Fondazione Tonino Gottarelli, curated by Daniela Haberz, M.A. for the Bell Tower Liesl, showcased in Graz in October 2021 and exhibited subsequently at AØH Art Consultancy Haberz Limited in London  in November 2021.

More here: Paintings Painted/ Malerei Gemalt Details

We would like to thank the Christie Collection for the loan of the work by Dan Graham.

Looking forward to seeing you all soon and all my best wishes,

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

Contact:

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

Head office:
Schoergelgasse 32/1/6
8010 Graz
Austria

Exhibition Space:
Glockenturm/ Bell Tower Graz
Schlossberg 6
8010 Graz
Austria

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beste Grüße

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

All my best wishes,

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

_____________________________

Contact:

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

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

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

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

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

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

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