SCHLEIFMUEHL – OPEN
Schleifmühlgasse | A-1040 Wien

Schleifmühlgasse Together Opening with: Gemeinsame Eröffnung:
Galerie Michaela Stock, Gabriele Senn Gallery, Charim Events, Christine König Galerie, KOENIG2 by_robbygreif, SCAG und unttld contemporary

Galerie Michaela Stock
Frozen Performance
Sabine Ott
Eröffnung / Opening:
Donnerstag, 18. Januar 2018 | 18 Uhr
Ausstellung/ Exhibition: 19.1. – 3.3.2018
Schleifmühlgasse 18, 1040 Wien
http://www.galerie-stock.net/

Galerie Michaela Stock
Sabine Ott – Frozen Performance
Finissage & Buchpräsentation:
Samstag: 3.3.2018 | 18 Uhr
Sabine Ott, Frozen Performance, editiones TRITON
Schleifmühlgasse 18, 1040 Wien
http://www.galerie-stock.net/

Vom Körper zur Bekleidung zum Objekt: Eigentlich klingt das nach einer
linearen Verknüpfung, doch bei genauerer Betrachtung ist das komplexe Geflecht, das Sabine Ott im Laufe der Jahre konsequent verdichtet hat, eine hybride und fragile Struktur, die Fragen nach Alltagskultur und der Position der Frau zwischen Privatheit und Öffentlichkeit stellt. (1)

Ihre Einzelausstellung Frozen Performance, die von Jänner bis März 2018 in der Galerie Michaela Stock in Wien stattfindet, zeigt das Nebeneinander von Architektur, Fotografie, Skulptur, Mode und Design, ohne sie als getrennte Disziplinen zu sehen. Sabine Ott dokumentiert Prozesse, Veränderungen, konserviert Bewegungsabläufe; immer mit der Absicht des Erzählens. Sie arbeitet mit Gefundenem, Verlorenem (ihrem Haar), mit Textilien und mit Sprache.

1 Barbara Holub: Faden, Haare : Schnitt, oder die Komplexität die sich einer Normierung entzieht; in Fragile, Sabine Ott, TRITON 2015

http://www.galerie-stock.net/ausstellungen/vorschau/1028-sabine-ott-frozen-per formance

CHRISTINE KÖNIG GALERIE e.U.
JUERGEN TELLER
Openings: Thursday, January 18, 2018 | 6 – 9 pm
19. January – March 3, 2018
Schleifmühlgasse 1A, A-1040 WIEN
https://www.christinekoeniggalerie.com

JUERGEN TELLER Charlotte Rampling Road, London 2016
Fox, Plate No.15, Latimer Giclee print 90 x 60 in | 228.6 x 152.4 cm

Juergen Teller and his subjects seem to play out together the thrilling, obsessive, nervous-making drama of the wrestling of photographic access. They explore intimacies that are often startling in the extreme – but oddly comforting, too, in their sense of a shared, bodily vulnerability. Teller seems to bring to the intrusiveness and voyeurism of photography a naivete that is disarming, yet fully self- aware. This eager and almost infantile need to look and know and capture comes with a directness that also allows his subjects to feel the photographer’s inevitable nervousness in bringing to them his compulsion to photograph. This transforms the inequality of the photographic exchange into a human encounter, mingling excitement and apprehension, turning the contingencies of fashion into the rigours and difficulty of art. This drama of access – at once ardent and impudent, exquisite and gross, excessive and refined – is played out most brilliantly in Teller’s work with the British actress, Charlotte Rampling.
Mixed in with models and designers and actors, each legendary in his or her own way (or made legendary by Teller’s camera), are family and friends, together with figures that inspire or intimidate, and landscapes and architectures that warm or chill the heart. (quot. Aveek Sen)

SCAG
LUCAS ZALLMANN
Opening:
Thursday, January 18, 2018 | 6-9 pm
18. Jänner 2018 | 18 Uhr
EXHIBITION: 19.1 – 24.2.2018
Schleifmühlgasse 3, 1040 Wien
https://www.lucaszallmann.com
https://www.facebook.com/events/311027789417744/
#nonsmilingsmiley

”W.H.A.T. Y.M.G.?”
„Where Have All the Young Men Gone?“ is a line taken from a song by folk singer legend Pete Seeger. This rhetorical question is used by artist Lucas Zallmann in the form of an acronym as the title for his current exhibition.
He uses the anti-war song from the 1950s as a point of departure to broach the subject of the evolution of gender roles. Zallmann, born in Vienna in 1979, understands the loss of youth, reminiscent in the song, above all as a loss of a natural, uninhibited relation to our own body and gender.
One feels somewhat reminded of the topos of the eviction from paradise. Zallmann ponders a state avant la lettre, prior to the dawn of the age of self-reflection: before the menacing thorn of doubt dug itself deeply into the flesh – and conscience – of mankind.
His illusory, acrylic cloud paintings invite a view into a blue summer sky and evoke – to say it with Milan Kundera – the unbearable lightness of being.
They are too beautiful to be true.

Text: Angela Stief

”W.H.A.T. Y.M.G.?”
Lucas Zallmann is a young man. But with the title of his latest exhibition, he impertinently poses the question, “Where Have All The Young Men Gone?”

This forces us to consider Zallmann as wilfully, voluntarily, inhabiting an ambiguous position. Is Zallmann somehow no longer a ‘Young Man’ when he presents in the omniscient role of ‘The Artist’? Or is ‘he’ absent from what he is presenting to us here? Is ‘he’ instead a linguistically neutral ‘They’?, or a ‘One’? Or perhaps, it is the ‘Young’ or the ‘Man’ aspects of himself which are losing ground, slipping away, disappearing?
When I hear this title, it evokes the lyrics of an old folk song, but one that I just quite place. To me, the line is a is a wistful lament from the mists of the pre-internet past, both ancient and Modern, a world in which young men uniformly went off to War. From the slave armies of Spartacus to the conscripts at Dunkirk, it was simply a social given that the young men went away. And after they left, their Fate was uncertain. There was no Facetime, no Facebook, they either fell dead in the wars which they were sent to fight, or they made it through, but only to forge new lives with those they found along the way, and their faces simply faded from their first sweethearts’ memories. They could so easily disappear, slip away, become lost in the World. If by Fortune they did manage to return Home, they were, naturally, no longer young; only old men came back, and the young men were gone, forever.
Today, male youth are required to exist as global consumers, not collectively condemned to be carnage in either Colosseum or battle field. They are not expected to suddenly be ‘gone’ from our society at some automatic cut-off point. Instead, they meander the streets of every city. We see them on their Supreme skateboards, ironic logo baseball caps, floppy hair, recreational tattoos, commitment issues and ghosting habits. Rather than their Home Town, however, they live “virtually” online, streaming continuous images across-the-universe through a 5G wifi hookup. They still grow stubble and don’t want acne, but are they really what they appear to be? Without the clear social distinction of the masculine role being that of fighting and dying for a flag, are they really young men? Without that dark, defining pressure, what distinguishes them at all?
Perhaps the difference is in fact, becoming more and more slight. In this show, utilising a variety of media, Zallmann investigates his preoccupation with the strange hormonal consequences of today’s synthetic food chain upon the ‘young men’ of our time. That they (and He?) may be dissolving from the inside out due to the cyclical run-on effects of the excess oestrogenation of the water, the meat, the milk, the air, even, all the factors of a post-post-modern life that messes with personal testosterone levels. Explains Zallmann: “I think hormones are so interesting because they are what makes a woman a Woman, and a man a Man. If you look at brain-scans of thought patterns, these are different between the sexes. Intersex people are also different again; a man who wants to be a woman will have a ‘feminine’ centre. But with all of these differences, its surprising how similar as molecules oestrogen and testosterone look.”
The standout icon of the show is Zallmann’s Smiley Face, remixed with a slashed mouth and slit eyes made from peeled and replaced paint strips. Like a caveman scrawl with a charcoal rod, the graffiti of a child with a stick in wet concrete, this three-lined form is a perfect summary of the digital era. ‘Digital’, after all, simply means – a finger can do it. This is a time unlike any other before it, in which any identity can hide behind another face, quite majestically termed ‘the avatar’ online. Its interesting to note that a smiley face is absolutely gender-neutral. Its expresses its simple emotional state without needing to choose a binary sexuality. They are androgynous, like the fish also featured in the show, an homage to the the minnows which lose their sexual distinction from living in waters polluted by human industry. By simply breathing the trace particles present in their aqueous ‘air’ the physiques of these finned creatures become a form which is ‘naturally’ transgender. Its an inescapable cycle that comes back to bite us humans in the ass; with each mouthful of polluted fish-flesh consumed, we start it all again. A recent study found that 85,000 of the 125,000 new chemicals developed since the Industrial Revolution are found in the bodies of fish. “Among the undesirable effects of these contaminants can have on us is lower intelligence, lower sperm count, and more symptoms of depression, anxiety and stress.*” (*U.S. EPA Chemical Substance Inventory, quoted in J.Balcolme, ‘What a Fish Knows,’ 2016)
The anxious young men of today are already a few generations away from those born from 1960s wombs manipulated into anti-fertility by Anti-Babypillen chemical contraceptives. These are their grandmothers. Their Fathers are the shadow-men who engineered the power of the Corporate ‘THEY’s, those without moral or scruple who maintain the hegemony of financial systems by seamlessly both creating and supplying the addictive nutritional, medical and recreational whims wants and needs of global society. The natural is un-natural, unheimlich, became we have made it so. Mother Nature is Caitlyn Jenner, now. No matter where on the Earth one lives, inadvertently absorbing detrimental chemicals from environmental factors is not an option, its a given. You’d have to eject yourself from the planet to escape its water, sugar, alcohol, coffee, soy sauce and underarm deodorant, even the rain that falls from the very clouds above.

So, Good luck, Young Men. Try not to Disappear.
Text: Hannah Bhuiya

SCAG
Schleifmühlgasse 3, A-1040 Vienna
#SCAG

GABRIELE SENN GALERIE
ADRIAN BUSCHMANN
macchiato
Eröffnung:
Donnerstag 18. Jänner 2018 | 18 – 21Uhr
Ausstellung : 19. Jänner – 03. März 2018
Schleifmühlgasse 1A, 1040 Wien
https://www.galeriesenn.at

Spannen wir das Pferd von hinten auf. Adrian Buschmann sagt Sachen wie: “Genauso wie ich die großformatigen (Bilder) letztendlich für Menschen male, die denen in den Bildern ähneln, male ich die kleinen Bilder für die Großen”, und deklariert somit kurzum die Legitimation des Bilder-anderen-Bildern-Widmens.
Mit derselben Souveränität schlüpft er in das Schaffen jener verstorbener Kollegen, in deren Werke er Nähe zur eigenen Arbeit erkennt. Die Deleuz’sche enculage heraufbeschwörend, macht Buschmann seinen Vorgängern sozusagen posthum Bastarde. Womöglich schwingt das beiläufig im Titel der Ausstellung mit, der auf italienisch fröhlich klingt, sich aber ins Deutsche mit “befleckt” übersetzen lässt. Die Werke verschiedenster Künstler benutzt er als Urlaub von der eigenen Person. Weitere Formen von Distanz bewirkt er beispielsweise durch das Herauslösen bestimmter Linien in den kleinformatigen Bildern, das bereits in den Großen vorkommt. Entscheidend für ihn in dieser Hinsicht sind rein ästhetische Gesichtspunkte. Anhand solcher Dekontextualisierung werden Teile seines Oeuvres gleich in das Genre der Abstraktion verortet. All diese Facetten der Entfremdung eröffnen dem Betrachter einen Spielraum, der die Hemmschwelle zur Eigeninterpretation bedeutend verringert.
Unterstützt wird dies ferner durch den Verzicht auf Autorenschaftsansprüche, der seiner Herangehensweise innewohnt. Signifikant für die Ausstellung ist, dass er seine 2015 begonnene Auseinandersetzung mit den Arbeiten des polnischen Künstlers Leon Chwistek wieder aufgreift. Ein Gedanke, den er einerseits gerne zu Ende gedacht haben möchte und welcher andererseits angesichts des eigenen Szenenwechsels, vom ligurischen Meer zurück in die Stadt, neu herangezogen werden darf. Chwistek’s Zeichnungen illustrieren eine privilegierte Gesellschaft zu Beginn des 20. Jahrhunderts, die sich wohl hauptsächlich in Vergnügungen zu zerstreuen sucht. Buschmann’s hyperminimale malerische Coverversionen tragen die bei Chwistek implizierten feingesellschaftlichen Gebärden in die Gegenwart. Kontemporäre Signa wie Geräte oder aktuelle Mode unterlässt er, weil er findet, dass sich ohnehin wenig am Wesentlichen geändert hat. Buschmanns Interesse bezieht sich somit mehr auf Affekte und Formen, als auf Äußerlichkeiten. Die Gegenwartsfähigkeit der Bilder, die er okkupiert, ist dadurch gegeben. Die Rolle des Striches nimmt eine dermaßen große Rolle ein, dass sich Referenzen hierzu gelegentlich im Titel in Form von Wortspielen finden. So zum Beispiel beim Werk “SS2018”, ein in der Mode verwendetes Kürzel für Spring/Summer, hier eingesetzt um auf S-förmige Linien in der Silhouette der beiden im Bild dargestellten Figuren hinzuweisen.

Gabriele Senn Galerie freut sich über die zweite Einzelausstellung von Adrian Buschmann.

– Sandra Petrasevic

Adrian Buschmann makes statements such as: ‘Just as I paint the larger ones [sic paintings] for people who look like those in them, I paint the small ones for their big siblings.’, thus legitimising the dedication of paintings to other paintings.
With the same sovereignty he slips into the opus of passed away fellows in which he detects vicinage to his own works. Evoking Deleuze’s enculage , Buschmann produces in a manner of speaking their posthum bastards. Perhaps this resonates incidentally with the title of the exhibition, which sounds cheerful in Italian (macchiato), but whose meaning, translated to German or English (maculose), reveals a more sinister and awkward tone. To Buschmann, works of other artists resemble a holiday from himself. By dislocating particular lines from the large paintings onto the smaller ones as another method of distancing, and with aesthetic considerations alone as criteria, such decontextualisation shifts parts of his oeuvre to the genre of abstraction. All these facets of separation and estrangement beget a space with diminished barriers to the onlooker’s own interpretations.
This is further being supported by the disclaimed authorship inherent in the artist’s approach. Significant for this exhibition is Buschmann’s revisit of Leon Chwistek’s works, an endeavour the artist was already occupied with in 2015. Given his change of residence, from the Ligurian Sea back to the city, Buschmann sensed that there were contemplations that still called for completion, especially in the now “new” environment. Chwistek’s drawings depict socialites at the early 20th century, a privileged circle on the quest for pleasure above all. The gestures in Chistwick’s illustrations imply refinement. Buschmann transports them via hyper-minimalist pictorial cover versions into the present. Contemporary insignia, such as fashion and devices, are missing completely, as essentials never have seemed to have changed anyway. The artist’s attention is therefore more geared towards affects and forms than this kind of formalities, which further assures the even transference of the pictures he occupies to the current. Lines bear such a weight in Buschmann’s body of work, that references can be frequently found in the titles of the paintings, sometimes as puns: i.e. the painting titled “SS2018”, in the world of fashion commonly used to abbreviate Spring/Summer, but used here to hint at the silhouette of the figures depicted in the painting.
Gabriele Senn Gallery is looking forward to Adrian Buschmanns second solo show.

– Sandra Petrasevic

Adrian Buschmann
geboren in Katowice, Polen / born in Katowice, Poland
lives and works/ Lebt und arbeitet in Vallebona and in Vienna
2002-2005- Klasse für Malerei, Bernd Koberling, Leiko Ikemura und Daniel Richter, Universität der Künste Berlin
2005-2008- Assistent Klasse Malerei Daniel Richter, Akademie der bildenden Künste Vienna

Charim Events
Eiko Gröschl
17 als es wärmer wurde
Eröffnung / Opening:
Donnerstag / Thursday, 18.01.2018 | 19 Uhr / 7 p.m.
Exhibition: 19.01. – 06.02.2018
Schleifmühlgasse 1a, 1040 Wien
Schleifmühlgasse 1a, A-1040 Wien
http://www.charimgalerie.at

Eiko Gröschl, o.T. 2017, Öl auf Styropor/Gesso, 45 x 40 cm