New Entry. Vienna

New Entry. Vienna is a group show, which officially announces the gallery’s arrival from Berlin to Vienna. We are delighted to exhibit a selection of artworks that are comprised of various media and dimensions. This assembly of works follows the impulses of the architectural environment and builds a dialogue with its surroundings, whilst reinstating nearly 20 years of the gallery’s approach. 

If we wanted to systematically sum up the arsenal of forms, symbols, and design in Anne Neukamp’s art, we might say that the artist takes us by the hand using familiar visual patterns from the everyday world of applied graphic design – low – and from the rather elitist art world of Minimalism and Conceptualism – high – only then to catapult us entirely into a no-man’s-land of unknown images and leave us utterly alone with our tools of perception. (Reinhard Spieler, 2019). 

Since the beginning of the 2000s, Marcius Galan has been building a strong and diversified body of works that includes installations, sculptures, objects, drawings, videos, photos and conceptual projects. His austere and precise language is both intriguing and open to multiple interpretations, and it can be associated with several reference points from the 20th century art history – from mid-century Brazilian neo-constructivism to the North American art of the 1960s. (Rodrigo Moura 2015).

The meander is probably the most remarkable element in Julije Knifer’s (1924-2004) art. He arrived at it in a matter of years, by means of reducing and purifying forms, so that by 1960, his first Meanders appeared. Later on he explained that he had reached this form wishing to maximally reduce the shaping means so that he could attain his final goal – to create an anti-painting.

The work of Marzena Nowak is created from memory and imagination, residing somewhere in the tension between autobiographical reference points and poetically immersed dream worlds. Her sensitivity to everyday occurrences and the relation to her own physicality often represent the thematic departure points for her artistic practice. 

Since the 1970s Goran Petercol has been exhibiting works concentrating upon processualism, scopes, stylisation and subversion of the purity of conceptual structures. His artistic practice frequently examines the act of creation itself formulating a visual language where light and shadow are as important as the found objects often featured in his work.

Primož Bizjak’s Alpi Apuane photographs, which were taken between 2014 and late 2017, constitute a sublime eulogy to the Apuan Alps – a vast mountain range in northern Tuscany, whose numerous quarries were the origins of some of the greatest masterpieces of European art. Exploring the mountains for four years, Bizjak focused in his new works on what is left behind in the fabled Apuan quarries. 

Robert Gabris shows a much more constant interest in multiple questions of diverse and convertible identity, the queer body and its existence, possessed in different physical and mental bodies, in relation to normative society and its boundaries. His chief strategy is visual empowerment and his medium of choice is conceptual drawing and its experimental implementation, the deconstruction of forms and the quest to push all possible limits. 

Alexander Gutke works within the conceptual and minimalist tradition. Analogue apparatuses such as cameras, film and slide projectors are some of the main components in his art practice. Gutke investigates these technical apparatuses as objects and mechanical devices, and uses them as tools and objects in his works and narrative – creating a visual illusionism and a poetic and mystical materialism. 

Nobuko Tsuchiya works with her intuitive use of materials, whilst building delicate elements and layers that become part of the landscape that make up the entirety of an individual sculptural work. Tsuchiya’s visual language reflects her intense understanding of the characteristics of different materials. In her work she approaches the parameters of their physical limitations to create the sensitive and challenging sculptural works. 

Francisco Tropa is a prominent figure within the Portuguese contemporary art scene. In his complex practice, which fuses art and technical ingenuity, Tropa’s creative vision embraces prototypes and machines, in addition to sculptures, paintings, drawings, screen prints, photography and performance. La Beauté du Pacifique (in collaboration with André Maranha) is an exemplary work of the artist’s practice of interconnecting a sculptural and filmic piece into one body of work that leaves the viewer pondering about its dimensionality and postcolonial reference.