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June 4, 2020


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.


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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