Schleifmühlgasse 18 - 1040 Vienna 
+43-699-19207778 - info@galerie-stock.net

09.09. –11.09.22
Kursalon, 1010 Vienna


When:
Fr 09.09., Sat 10.09., Sun 11.09., 11 am - 7 pm

Where: Kursalon, Johannesgasse 33, 1010 Wien

Booth 11E

galerie michaela stock shows artworks that attempt to detect problems in social structures, to illuminate them and to reconstruct and tell their stories. The presentation includes works by five contemporary artists and shows an artistically different approach to the topic.

Patrick Baumüller | Laura Fitzgerald | Evelyn Loschy | Marko Markovic | Marko Zink



Patrick Baumüller's gaze turns trivial objects into marvels. The silent poetry of these installations arises from their open minded approach. Baumüller zooms in on a great variety of appearances in an impartial manner, steers clear of emotionalism, and always maintains a critical attitude. He emphatically shows us the world we live in as marked by the effects of globalization and leads us to see how, again and again, the obscure connections between political, social, economic, ecological, and other phenomena point us to the complexity of our own actions. The sculptures were processed from used packaging of fast food. The piece Walking the plank gives an insight into the global consequences of today's consumer society and deals with the biggest driver, deforestation. Patrick Baumüller leaves this "warning sign" in the room as a mockery to indicate a disproportion between nature and civilization.

Laura Fitzgerald
searches for her identity through the family farm in County Kerry, Ireland. She having spent years in Dublin. She is telling stories from these different vantage points and highlighting comparisons between rural identities and the work of an artist. Laura Fitzgerald probes in a satirical way, the difficult task of being an artist through drawings, paintings, texts & videos and sound installations. Her body of work focuses on the rapid changes she and others are experiencing in the modern world and reveals both the difficulty of proposing a solution and is yet interested and driven by a multiplicity of options or proposals for new imaginative states. In a sense the work is sincerely absurdist in own endeavours. While looking at ideas relating to the neoliberal turn, she concentrates on using humour as a tool; an antidepressant and a coping strategy to everyday lived experience.

Evelyn Loschy
works with a large variety of materials and methods, reaching from video, photo, to kinetic, (auto-)destructive sculptures and explores a subtle and sensitive relationship between action and material. The (self-)destruction becomes,for her, a constructive element that introduces a transformation process. She prompts the viewer to question at what point the self becomes other, and how we can objectively distinguish what makes us unique. The performance video FRICTION shows two performers wearing masks made of sandpaper and nesting their faces against each other. A loving movement, which is contrasted by the sound of the rubbing sandpaper.and gains in intensity and destructive character in the course of the performance. The artist uses emotional vocabulary, as with her kinetic sculptures and other works of art, thereby awakening hidden sensations and forgotten memories.

Working in different media with a focus on performing arts, Marko Marković critically reflects on political and social structures in his work. His artistic interests are predominantly marked by trans-formation processes between the individual and society. His works reflect everyday life in which Marković examines the relation between inferiority and superiority as well as the position of power in different geopolitical systems. When eating flowers in his performance Southeast sadness in central Europe, Marković explores changes in perception by bringing the body and mind into a state of intoxication with flower enzymes. Importing the substance of flowers in body organism and fusing one system within another by performing the embodiment of natural and artificial environment.

Marko Zink
works with staged photography. He works with analogue cameras and only with natural light. The carrier material, analogue film, is boiled multiple times before exposure, and systematically chemically and mechanically processed for some series. Zink tells stories that are real only for a single short moment. He meets reality with a double bottom, showing humour at the first glance, which leads into the tragic aspects of his oeuvre at a second glance. In his series "When the Animals Left the Forest", Zink dons animal masks ranging from swan to turkey to explore the question of what animals might do for a living if their natural habitat were destroyed. Bereft of their home and forced into gainful employment, the animals move toward the city, where they - beholden to their animal essence - become prostitutes.

VIENNACONTEMPORARY: In 2022, viennacontemporary will take place from 8 to 11 September. We are looking forward to welcoming you to Kursalon Vienna in September 2022. With its new venue, the fair literally moves into the heart of the city, taking advantage of the proximity of the many surrounding galleries, renowned museums, charming cafés, important cultural institutions, and architectural highlights to offer a brilliant, comprehensive art program.

INFO > viennacontemporary 

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Courtesy: the artists / galerie michaela stock

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PRESS IMAGES

Press image 1: Evelyn Loschy, FRICTION, 2021, photography (Matt Plus 240), performance, 30 x 45 cm, framed, edition: 5 + AP
Press image 2: Marko Marković, "Southeast sadness in central Europe", 2021, Osijek
Press image 3: Marko Zink, Schwan, 2019, from the series "als die Tiere den Wald verliessen", 75 x 50cm, 120 x 80cm
Press image 4: Laura Fitzgerald, Tired Superheroes, 2019, pastell crayon on paper, 50 x 70 cm
Press image 5: Patrick Baumüller, Sand Paper Series "SPS#A_01&A_02", Serpentinit, varnish, silicone, acrylic paint, bindery board, each 76 x 35 x 1.5 cm

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