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Fritz Aigner & Auguste Kronheim – Long for Ireland

February 11, 2021

This is the first joint retrospective of the former artist couple Fritz Aigner (1930 – 2015) and Auguste Kronheim for decades. The focus is on their extremely intensive creative period in Ireland, which is to become the starting point for the most expressive works for both Kronheim and Aigner. The exhibition opens on February 11th and 12th with two preview days from 2pm to 7pm.

Kronheim soaks up the archaic society of Irish country life of the 1960s and condenses it in expressive but also poetic woodcuts that are in the tradition of German Expressionism. For Fritz Aigner Ireland becomes a special place of longing: The “Irish Drawings”, which were created in Ireland, are the highest quality of his oeuvre, but do not refer to the local color, they rather process general themes in often demonic allegories. In addition to these Irish works, the exhibition also shows the further development of these two exceptional artistic personalities: Auguste Kronheim remains true to the means of expression of the woodcut, but until 1980 found her very own, strongly shaped feminist style, which has lost none of its topicality to this day. Thus her works are the great rediscovery at the opening exhibition of the Albertina Modern and are now receiving the museum recognition which was long overdue.

In addition to some museum Irish drawings and paintings from the period up to 1975, we are also showing Fritz Aigner’s own block of works from 1968, which he created during his time in London. Here he processes all his new impressions of the metropolis, which is very different from Linz, Vienna, but also rural Ireland, to the highest level of drawing.

DURATION OF THE EXHIBITION
13th of February until 27th of February 2021

OPENING HOURS
Tuesday – Friday 2pm – 6pm, Saturday: 10am – 1pm

 

June 4, 2020

humanoid

September 10, 2019

As part of the group exhibition humanoid, the Galerie Lehner shows different positions of young, contemporary, figurative painting in Austria, which focuses on humans or on what is similar to humans – to literally take the title. The artists deal with allegories of humanity and the human body, with characters and physiognomies. In doing so, they point to humanity and its position in today’s digital, consumer-oriented, technological society, thereby confronting reality and illusion. Images of ourselves are created and thus a bridge to the old conflict of man as an image of God beaten.

The window to painting art

April 6, 2019

The window probably never had the honor to become the subject of a cross-sectional exhibition of the painting of the last hundred years: undoubtedly without justification, as this exhibition “The window to painting art” will prove. Windows and glass accompany the
Painting since the emergence of the panel painting and in the truest sense of the word as a painting ground and medium as well as a painterly challenge in the form of reflection, distortion but also the demarcation of the interior Landscape. The window in painting is often the compressed form of light, the main mood of color and depth. Interiors need the window as an effective light source and broadening the horizons of an introverted world. The more the window comes into focus and focus, the more it is no longer about the cramped interior, but about the extended landscape. The window only gives the frame and contrast of nature to the cultural space of man. Just as the window changes, so does the contemporary reception and interpretation of the glass surface in the façade. Depending on the painterly design, glass surfaces and windows serve to reflect on the environment, but also of one’s own person and personality, for the rhythmization and animation of painting, or even for supernaturalistic exaggeration. The challenge of this compilation on the subject is to put the window back into the background per se and thus open the window to painting.

Vienna

November 9, 2018

Water shyness should not be the Elke Schoenberger anyway. Otherwise there would not be so much of the wet stuff on their pictures, right? These are not watercolors, no. The technique is oil on canvas. So the paintings would probably not go down if the very wet fantasies depicted on them really came true. Oil floats on water. And wood anyway. From which the stretcher consists.

Vienna is known to have three things at once: city, land, river. And the latter does not want to stay in bed that’s been done to him. The Vienna suddenly remembers that it is actually a whitewater. Goes swimming with the U4. “Kagrantis”: Hey, like Atlantis. Only without the Atlantic. Dafuer with the Danube. In the apparently Kagran is flooded. Well, not quite Kagran. The Donaucity. Okay, that’s just a picturesque reflection in the water, over which two swans slide contemplatively. Speaking of wild animals. Crosswalks have already crossed the road earlier. However, no hooves down there. Climate change? Or broke out of the zoo? The wilderness moves into the city.

Nevertheless, the humans are not extinct. They are still waiting for the subway. On a lonely rock in the surf. Annual ticket holders? “Wiener Linien” is the name of the exhibition by the way (Galerie Lehner). Original: to disguise a garbage incinerator as a construction crane. (Oh, is their previous camouflage as a funny colorful church flown?) How do you call that at all? Fotosurrealismus? Extremely sensual (and really) Schoenberger describes light, shadows, reflections. A sun and a demise romance?

Black painter is that at least none. Okay, the primer is mostly black. And a pretty thinner work even has the title “black”. (Solar eclipse over the Mumok, the art bunker.) But otherwise: the most beautiful colors. In addition, Vienna does not sink. Not on foot. You wait, as I said, prefer the subway.

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