Dark Euphoria, MAK - Museum of Applied Arts, Vienna, 28.5. - 3.10.2021

Kerstin von Gabain and Ivan Perard

curated by Marlis Wirth

Ballast Palast, Kunstverein Schattendorf, 4.10. – 1.11.2020

Kerstin von Gabain, Dejan Kaludjerovic, Lotte Lyon, Luisa Margan, Stefan Reiterer, Isa Schmidlehner

curated by Goschka Gawlik and Siggi Hofer

Haus, Vienna, 21.9. - 27.9.2020

Albin Bergström, Aline Sofie Rainer, Amar Priganica, Andrew Hodgson with Derek Beaulieu, Guy Bennett, Kimberly Campanello, Spencer Campbell, Shane Jesse Christmass, Chris Clarke, Emily Critchley, James Goodwin, Andrew Hodgson, Bhanu Kapil, Jake Kennedy, Robert Kiely, Kevin McPherson Eckhoff, Sawako Nakayasu, Vanessa Onwuemezi, Outranspo, Imogen Reid, Shola von Reynolds, Rosie Šnajdr, Isabel Waidner, Joanna Walsh, and Eley Williams, co-edited by Chris Clarke and Rosie Šnajdr, Angelika Loderer, Barbara Kapusta, Bianca Phos, Caterina Avataneo with Diego Delas and Rolf Nowotny, Cherish with Jiajia Zhang, Chiara Bals and Jumpei Shimada, Claudia Rech with Ketuta Alexi-Meskhishvili, Mikael Brkic, Lisa Holzer, Tobias Kaspar, Lindsay Lawson, Shaun Motsi, Albrecht Pischel, Natalia Rolon, Hanna Stiegeler, Filippo Vogliazzo, Jasmin Werner, and Davide Zucco, digestivo with Pedro Herrero Ferrán, Eva Engelbert, EXILE with Billy Miller and Teenie Harris, Fette Sans, Georg Petermichl, Goswell Road with Inga Danysz, Alison Flora, Zero Kama, and Ruiz Stephinson, Hans Jurisch Barragán, Hyeji Nam, Ina Aloisia Ebenberger, Julia Goodman, and Yein Lee, Johanna Charlotte Trede, Katharina Wendler, Kerstin von Gabain, Laurids Oder, Liesl Raff, Loggia with Stefan Fuchs, Lydia Antoniou, Caterina Guadagno, Nora Kovacs, Titus Nouwens, and William Rees with Josefin Arnell, Pauline Curnier Jardin, Paul Maheke, Dipesh Pandya, and Naïmé Perrette with Sara Giannini and Sam Keogh, Marianne Vlaschits, Martin Chramosta, Miriam Stoney, Multiple Spirits (Mika Maruyama and Mai Endo) and Stephanie Misa, Paulina Semkowicz and Myles Starr, Plymouth Rock, Polana Institute with Mikołaj Sobczak, Riverside, Robin Waart, Sara Kramer, Scott Rogers, Simon Würsten Marin with Guillaume Dustan, Spouse with Alexandra-Maria Toth and Jacqueline Neubauer, Tails with Clemence Hilaire and Philip Ullman, Tarik Kentouche and Gašper Kunšič, The Performance Agency with Limitrofe Television (Enantios Dromos and Pedro Ferreira), Theresa Zwerschke, Thuy-Han Nguyen-Chi, Tom Engels with Hana Miletić, Travis Morehead, White Dwarf Magazine, Yaby with manuel arturo abreu, Coco Fitterman, JOVENDELAPERLA, Cole Lu, Aviva Silverman, Nayare Soledad, and Leticia Ybarra

    Photo: Maria Haefner

    Curated by: Amygdala with Edin Zenun, Zeller van Almsick, 5.9. – 3.10.2020

    The title is the eponym for one of the exhibited paintings and refers to the almond-shaped group of neurons that are located deep in the medial temporal lobe of the brain, play a key role in the processing of emotions and are part of the limbic system. The name of the amygdala is explained by its almond-shaped appearance and comes from ancient Greek (μυγδάλη, almond(kernel).

    Cruel Summer Camp, Exile, 15.7. - 22.8.2020

    Abdul Sharif Baruwa, Anna Bochkova, Anna Hostek, Bianca Pedrina, Edin Zenun, Filip Dvořák and Martin Kolarov, Flavio Palasciano, Francis Ruyter, Ivana Lazic, Jackie Grassmann and Leonie Huber, Jakub Choma, Jakob Kolb, Kerstin von Gabain, Keresztesi Botond, Lukas Thaler, Marianne Vlaschits, Martina Smutná, Michal Michailov, Nika Kupyrova, Radek Brousil, Sarah Bechter, Sari Ember, Siggi Sekira, Siggi Hofer, Šimon Chovan, Tomáš Bryscejn, Yein Lee

    curated by Veronika Čechová, Àngels Miralda and Peter Sit

    Bodylotion, Zeller van Almsick, 10.7. – 22.8.2020

    Minda Andrén, Jagoda Bednarsky, Eva Beresin, Michael Fanta, Kerstin von Gabain, Gelitin, Nicholas Grafia, Eiko Gröschl, Nschotschi Haslinger, Karolina Jabłońska, Anna Jermolaewa, Charlotte Klobassa, Max Kolten, Xenia Lesniewski, Josip Novosel, Evelyn Plaschg, Tim Sandow, Grace Weaver, Marlon Wobst, Sonja Yakovleva

    Happiness Machines, chicane.space, 19.5.2020

    'I call them the happiness machines,” she said and pointed to a set of strange devices in the hidden corner of the room. I must admit that I was surprised. “Are you ready?” she asked through a text that came with an echo into my earpods. I nodded. “Then let’s switch bodies now.'

    curated by Marlies Wirth

    Where the wild roses grow, Pina, 16. - 29.5.2020

    Kerstin von Gabain, Luna Ghisetti, Angelika Loderer, Nino Sakandelidze and Christian Siekmeier

    curated by Edin Zenun

    Open Archive: Kerstin von Gabain by Natalia Gurova for Hugo Zorn

    'To be an artist does not only mean producing and exhibiting work, it also involves processes that happen behind the scenes, such as collecting, archiving, and cataloguing. Since the work of every artist is distinctive and unique, it is difficult to apply universal criteria in terms of pictorial archives.' Natalia Gurova

    Room 2.43, Parallel Vienna, 24.9. - 29.9.2019

    mud on your knees
    soil in your mouth
    worms inside your eyes
    cuts deeper than the ocean
    rotting gums
    feral tongue

    (author unknown)

    FuelSave, Vienna, 12.7.2019

    Viltė Bražiūnaitė and Tomas Sinkevičius, Olivia Coeln, Schirin Charlot, Kerstin von Gabain, Hannah Hansel, Helmut Heiss, Axel Huber, Albert Mayr, Thea Moeller, Hanno Schnegg, Sophie Thun, Julian Tromp and George Rei

    Drawing Books

    Siggi Hofer, Kerstin von Gabain, Anna Gille Garden, Y.-My Nguyen & Antoine Orand and Max Schaffer

    Edited, printed and bound by Katarina Schildgen & Paul Gasser

    Kerstin von Gabain, Kunst Universität Linz, 28.5.2019

    Poster: Tina Graßegger

    Being Towards the World, Sophie Tappeiner, 30.3. – 4.5.2019

    Leda Bourgogne, Jesse Darling, Kerstin von Gabain, Sophie Jung, Maria Lassnig, Alina Szapocznikow and Jala Wahid

    Kalt, Kunstverein Ve.Sch, 20.1. - 9.2.2019

    Julian Feritsch, Michael Franz, Kerstin von Gabain, Ana Hoffner, Luiza Margan, Wolfgang Stengel, Christoph Weber, Franz Zar

    curated by Thea Moeller, Ludwig Kittinger and Martin Vesely

    Performance - Körper als Kontinuum in der Kunst / Performance – The body as a continuum in art, Gabriele Senn Galerie, 14.9. – 13.10.2018

    Cäcilia Brown, Kerstin von Gabain, Kathi Hofer, Natalia LL, Marko Lulić, Johanna Reich, Elfie Semotan, Ene-Liis Semper, Marina Sula, Jaan Toomik, Paul Wiersbinski

    curated by Georg Elben

    Noodle House, Kerstin von Gabain, Irina Gavrich and GON, Vienna, 8.9.2018

    Photo: Irina Gavrichs

    Ordination, Vienna, 19.10. – 17.8.2018

    Victoria Adam, Kerry Downey in collaboration with Joanna Seitz, Zuzanna Czebatul, DWMC, Claude Eigan, Bernhard Frue, Gelitin, Martin Grandits, Josephinum, Birgit Jürgenssen, Tomasz Kowalski, Klara Lilja, Angelika Loderer, Johann Neumeister, Anna Paul, Hanna Putz, Alex Ruthner, Ellen Schafer, Siggi Sekira, Elfie Semotan, Astrid Wagner, Hans Weigand

    curated by Kerstin von Gabain and Sophie Tappeiner

    Cäcilia Brown, Kerstin von Gabain, Thea Moeller, Alexander Ruthner and Marina Sula, Gabriele Senn Galerie, Vienna, 27.4. - 16.6. 2018


    El Centro 2, Galerie Kunstbüro, 23.03. – 19.04.2018

    Kerstin von Gabain and Thea Moeller

    Dollhouse of A Poem, Vienna, 2.6.2017

    Ismini Adami, Daphne Ahlers, Minda Andren, Nouria Behloul, Adrian Buschmann, Rani Bageria, Alessio Delli Castelli, Simone Carneiro, Schirin Charlot, Clegg & Guttmann, Dark Disko (Rade Petrasevic & Philipp Ruthner), Marco Dessi, Daniel Ecker, Philipp Friedrich, Bernhard Frue, Kerstin von Gabain, Marcus Geiger, Franz Graf, Martin Grandits, Begi Guggenheim, Hannah Hansel, Anne Hardy, Max Henry, Richard Hoeck, Natia Kalandadze, Benedikt Ledebur, Michael Lukas, Constantin Luser, Albert Mayr, Emma McMillan, Thea Moeller, Johann Neumeister, Daniel Peterson, Roshi Porkar, Noushin Redjaian, George Rei, Rosa Rendl, Daniel Richter, Alex Ruthner, Hanno Schnegg, Björn Segschneider, Nino Sakandelidze, Ania Shestakova, Tamuna Sirbiladze, Nino Stelzl, Lilli Thießen, Sophie Thun, Cathrin Ulikowski, Franz West, Anita Witek, Sasha Zalivako, Edin Zenun, Heimo Zobernig, Christina Zurfluh

    curated by Kerstin von Gabain and Nino Sakandelidze

    Moi Non Moi or Carrying Owls to Athens, Athens, 7.5. – 7.6.2016

    Irini Athanassakis, Stefanie Binder, Cäcilia Brown, Thomas Feuerstein, Andreas Fogarasi, Marcus Geiger, Sophie Gogl, Franz Graf, Martin Grandits, Begi Guggenheim, Ilse Haider, Stelios Karamanolis, Victor Lizana, Anastasios Logothetis, Michael Lukas, Marko Lulic, Constantin Luser, Albert Mayr, Christoph Meier, Johann Neumeister, Katherina Olschbaur, Panos Papadopoulos, Natasha Papadopoulou, Parastu, Rade Petrasevic, Hans Werner Poschauko, Claudia Plank, Christian Rosa, Corinne L. Rusch, Alex Ruthner, Nino Sakandelidze, Hans Schabus, Toni Schmale, Johannes Schweiger, Björn Segschneider, Nino Stelzl , Sofia Stevi, Stefania Strouza, Philipp Timischl, Jannis Varelas, Kerstin von Gabain, Astrid Wagner, Franz West, Erwin Wurm

    curated by Amer Abbas and Stefan Bidner

    Shape Shift - Kerstin von Gabain, Begi Guggenheim and Tina Lechner, hosted by Nicole Adler and Anita Witek, Vienna, 4.4.2017

    Pro(s)thesis, Gemäldegalerie, Akademie der bildende Künste, 10. Mar. – 14. Jun., 2017

    Kerstin von Gabain, Anne Imhof, Birgit Jürgenssen, Barbis Ruder, Toni Schmale, Anne Schneider

    The guiding motif of this exhibition is the prosthesis as a metaphor for transformation processes and the biological-technological permeation of the body. The idea is already suggested in the title, which superimposes the words prosthesis and prosthesis (the Ancient Greek term for the display of a dead body) …

    curated by Berenice Pahl and Felicitas Thun-Hohenstein

    Photo: Lisa Rastl

    Död, Gabriele Senn Galerie, Vienna, 10.3.2017 - 29.4.2017

    The exhibition brings together a constellation of Kerstin von Gabain’s wax and plaster sculptures of vegetables, fruit, and body parts. Building on previous work, the exhibition further explores how von Gabain considers and plays with the space between objects and their representation, the evolution and exchange between sculpture and photography, which are the recurring elements and processes underlying her oeuvre. The cross sections of bones are cast from her arms and legs and hollowed out through sanding to resemble bone marrow. Unlike the putrefaction of Paul Thek’s meat sculptures, however, von Gabain’s objects are abstract and candy colored. The pieces are handmade yet resolutely perfect, subversively fresh and immediate. Through their mediation via postcard-sized photos, they serve as memento mori that are garish in their eternality, and yet suggest a knowledge too small, a lifespan too short. The objects rest on plinths of concrete, acrylic glass, and MDF laminated or painted pink, which further juxtaposes their aesthetic and conceptual volatility, as well as renders them unfit for consumption; their eccentric connections to one another suggest the biopolitics of breeding, the regulation of the path toward consumerhood, as well as the collective unchartedness of our civilization.

    Helen Young Chang

    Painting is not the Issue, Neuer Kunstverein Wien, 10.11. – 27.11.2016

    Iris Dittler, Kerstin von Gabain, Evelyn Plaschg, Noushin Redjaian

    curated by Felicitas Thun-Hohenstein

    The language of things - material histories from the collection, 21-er Haus, Belvedere, Vienna, 10.6. – 22.1.2016

    Franz Amann, Carl Andre, John M Armleder, Richard Artschwager, Josef Bauer, Thomas Baumann, Julien Bismuth, Andy Boot, Herbert Brandl, Gilbert Bretterbauer, Cäcilia Brown & Wilhelm KLotzek, Andy Coolquitt, Andreas Duscha, Judith Fegerl, Robert Filliou, Dan Flavin, Andreas Fogarasi, Kerstin von Gabain, Gelatin, Julian Göthe, Manuel Gorkiewicz, Franz Graf, Eva Grubinger, Michael Gumhold, Robert F. Hammerstiel, Gregor Hildebrandt, Benjamin Hirte, Anna Jermolaewa, Donald Judd, Barbara Kapusta, Jakob Lena Knebl, Roland Kollnitz, Brigitte Kowanz, Susanne Kriemann, Sonia Leimer, Anita Leisz, Inés Lombardi, Constantin Luser, Dorit Margreiter, Ralo Mayer, Adam McEwen, Robert Morris, Marlie Mul, Ulrike Müller, Walter Obholzer, Lisa Oppenheim, Rudolf Polanszky, Rosa Rendl, Gerhard Richter, Valentin Ruhry, Fred Sandback, Stefan Sandner, Stefanie Seibold, Tony Smith, Daniel Spoerri, Lucie Stahl, Rudolf Stingel, Zin Taylor, Sofie Thorsen, Christoph Weber, Lois Weinberger, Franz West, Erwin Wurm, Heimo Zobernig, Franz von Zülow

    curated by Luisa Ziaja and Axel Köhne

    de Oculis - Die Sammlung Aichmair im Josephinum, Vienna, 11.3. – 8.10.2016, curated by Moritz Stipciz

    Nadja Bournonville, Kerstin von Gabain, Zenita Komad, Eva Kotátková, Anja Manfredi, Nadim Vardag

    Für Garderobe wird nicht gehaftet, Angwandte Innovation Laboratory, Vienna, 10.12.2015 – 17.01.2016

    Marlene Agreiter, Anja Ray Alturban, ANTICOOL COMPANY, Cloed Baumgartner, Kemi Bassene, Ruth Beckermann, Anna-Sophie Berger, Jürgen Böheimer, Gerda Buxbaum, Dies Irae, Josef Divéky, Renate Dworschak, Sonja Eismann, Elisabeth Frottier, Kerstin von Gabain, Martin Gabriel, Micha Payer, Karla Girotto, Barbara Graf, Franz Graf, Nilbar Güreş, Monika Haas, Markus Hausleiter, Sanja Iveković, Song Jing, Birgit Jürgenssen, Nunu Kaller, Afra Kirchdorfer, Angela Klos, Jakob Lena Knebl, Kollektiv [U+29B2+29BC+327E+25CD], Katharina Kugler, Adele List, Inés Lombardi, László Lukács, Walter Lunzer, Katharina Mischer, Thomas Traxler, Sandra Monterroso, Andrew Morgan, Klaus Mühlbauer, Lisa Muhr, Stephanie Müller, Klaus Erich Dietl, Ute Neuber, Oswald Oberhuber, Ona B., Painted, Olivera Parlić, Moritz Piffl, Paul de Reus, Ramona Rieder, Herbert Rieger, ROUGE (Jelena Fužinato/Bojana Stamenković), Evamaria Schaller, Markus Schinwald, Rosemarie Trockel, Walter Van Beirendonck, Ari Versluis & Ellie Uyttenbroek, Michael Wachtel, Friederike von Wedel-Parlow, Vivienne Westwood, Angela Wiedermann

    kuratiert von Studierende des ecm-Masterlehrgangs 2014-16

    Objets Trouves, Hofstätter Projekte, Vienna, 20.5. – 17.7.2015

    Hannes Böck, Kerstin von Gabain, Guido Kucsko

    curated by Edelbert Köb

    Destination 2015, Kunsthalle Wien, Vienna, 17.4 – 31.5.2015

    Adrian Alecu, Ovidiu Anton, Anna Artaker, Kurdwin Ayub, Josef Bauer, Cäcilia Brown, Adrian Buschmann, Hugo Canoilas, Julian Charrière, Mitya Churikov, Los Destinados (Julius Deutschbauer, Klaus Pobitzer, Panos Mylonas), Eva Egermann, Christian Eisenberger, Christian Falsnaes, Marina Faust, Lukas Feigelfeld, Daniel Ferstl, Andreas Fogarasi, Heinz Frank, Heribert Friedl, Peter Fritzenwallner, G.R.A.M., Kerstin von Gabain, Till Gathmann, Aldo Giannotti, Sofia Goscinski, Julian Göthe, Eva Grubinger, Harald Gsaller, Rebekka Hagg, Michael Heindl, Nicholas Hoffman, Ana Hoffner, David Jourdan, Barbara Kapusta, Eric Kläring, Tonio Kröner, Tina Lechner, Sonia Leimer, Paul Leitner, Constantin Luser, Nana Mandl, Christian Mayer, Ralo Mayer, Sarah Mendelsohn, Melitta Moschik, Hans Nevidal, Josip Novosel, Denise Palmieri, Michael Part, Nicola Pecoraro, permanent breakfast (Friedemann Derschmidt, Abbé Libansky, Karin Schneider, Barbara Zeidler), Lilly Pfalzer, Sergio Valenzuela, Karin Pliem, Johannes Porsch, Hanna Putz, Andreas Reiter Raabe, Ritornell, Valentin Ruhry, Maruša Sagadin, Ari Sariannidis, Johann Schoiswohl, Leander Schönweger, Misha Stroj, Philipp Timischl, Jenni Tischer, Octavian Trauttmansdorff, Nadim Vardag, Salvatore Viviano, Astrid Wagner, Tanja Widmann, Birgit Zinner

    curated by Marie Egger, Anne Faucheret, Lucas Gehrmann, Luca Lo Pinto, Matthias Nothnagel, Andrea Popelka, Nicolaus and Schafhausen

    Markus Amm & Kerstin von Gabain, Sammlung Lenikus, Vienna, 22.4 – 30.4.2015

    Bad Pringle, Gabriele Senn Galerie, Vienna, 20.3. – 23.4.2015

    At the center of the current exhibition is von Gabain’s more recent occupation with mold making and casting. Casting and analogue photography both rely on complementarity for reproduction of analog prints and casts: Both techniques use a negative in order to make a positive imprint. In preparation for the exhibition, von Gabain casted a set of objects in plaster to be then photographed with the purpose of highlighting this duality again. As her work progressed she began to experiment with color, as well as new materials, such as concrete, wax and polyester and using color film. Through casting various materials on top of each other and using vivid colors, her objects evoke different associations, such as layers of earth or melted candy. Thus the works are given another more carnal and playful dimension that is emphasized even more by the display and arrangement of these. von Gabain is continuously evolving her work, constantly modifying, re-editing and re-adapting her approach, often referencing and sampling her own past exhibitions.

    Bad pringle by Johann Neumeister

    The Art Gallery of Rogues, Wiener Art Foundation, Vienna, 13.3. – 27.3.2015

    why is batman actually not called mouseman considering he has much more in common with the ordinary house mouse than with bats? even though he has a cave, he doesnt inhabit it but uses it only as a hiding place in case of danger, similar to a mouse retreating into a hole. he also doesnt sleep there hanging from the ceiling but does so in a warm bed in a villa. everyone who ever suffered a mouse infestation knows all to well that these animals have a marked preference for nesting in beds, blankets and cushions. bats on the contrary do keep their bodies mutually warm while sleeping and are therefore mostly found in larger groups, forming colonies. batman on the other hand is a loner. also he is not capable of active flight. he only glides through the air with his cape because he neither has webbed wings like bats nor superhuman powers like superman for instance. he only pretends to be flying, like a mouse with a parachute would. but the most important feature that both batman and mice dont share with bats are fangs and the sucking of blood. although very view species of bats actually do drink blood, the image of the bat as a vampire is nonetheless so prevalent in our culture that one has to assume that also in the case of batman this association will sooner or later suggest itself to everyone. but if batman is by name a bat ergo vampire, then why does he have all the traits of a harmless little house mouse and none of the bloodsucking and infectious bats/vampires? the answer to this question is quite simple: because batman is a vampire pretending to be a mouse.

    Johann Neumeister

    Der Blick und das Queren, Markhof 2, 21.2. - 20.3.2015

    Kerstin von Gabain, Robert Gruber, Anja Manfredi, Mads Westrup

    curated by Martin Vesely

    Sleepless - the bed in history and contemporary art, Belvedere, 21-er Haus, 30.1. – 7.6.2015

    Miles Aldridge, Nobuyoshi Araki Diane Arbus, Rudolf Bacher, Georg Baselitz, Franz von Bayros, Cecil Beaton, Vanessa Beecroft, Richard Billingham, Herbert Boeckl, Pierre Bonnard, Marino Bovi, Cecily Brown, Agostino Carracci, Jota Castro, Jake & Dinos Chapman, Anetta Mona Chi?a & Lucia Tkácová, Larry Clark, Francesco Clemente, Gustave Courbet, Michael Craig-Martin, Gregory Crewdson, John Currin, David Dawson, Lucinda Devlin, Philip-Lorca diCorcia, Otto Dix, Sante D’Orazio, Leopold Johann Dorfstätter, Marcel Duchamp, Jimmie Durham, Martin Eder, Elmgreen & Dragset, Tracey Emin, James Ensor, VALIE EXPORT, Werner Feiersinger, Martha Fein, Domenico Fiasella, Urs Fischer, Fischli & Weiss, Peter Flötner, Lavinia Fontana, Heinz Frank, Lucian Freud, Kerstin von Gabain, Ryan Gander, Artemisia Gentileschi, Bruno Gironcoli, Robert Gober, Nan Goldin, Dominique Gonzalez-Foerster, Douglas Gordon, Antony Gormley, Francisco José de Goya y Lucientes, Heidi Harsieber, Mona Hatoum, Damien Hirst, Howard Hodgkin, Ludwig Hoffenreich, Richard Horlemann, Rachel Howard, Alfred Hrdlicka, Jörg Immendorff, Birgit Jürgenssen, Johanna Kampmann-Freund, Herwig Kempinger, Fritz Kern, Anselm Kiefer, Martin Kippenberger, Douglas Kirkland, Ronald Brooks Kitaj, Gustav Klimt, Pierre Klossowski, Jannis Kounellis, Paul Kranzler, Alfred Kubin, Hans Kupelwieser, Yayoi Kusama, Jim Lambie, Maria Lassnig, Louise Lawler, Gonzalo Lebrija, Erich Lessing, Sherrie Levine, Max Liebermann, Pietro Falca detto Longhi, Los Carpinteros, Sarah Lucas, Meister mit den Blumenrahmen, Meister der Divisio Apostolorum, Meister von Großgmain, Inge Morath, Otto Muehl, Ugo Mulas, Vik Muniz, Johann Michael Neder, Shirin Neshat, Helmut Newton, Hermann Nitsch, Yoko Ono, Pablo Ruiz Picasso, Walter Pichler, Giulia Piscitelli, Michelangelo Pistoletto, Robert Polidori, Robert Rauschenberg, Man Ray, Josef Karl Rädler, Johann Baptist Reiter, Bettina Rheims, Gerhard Richter, John Riddy, Rembrandt Harmenszoon van Rijn, Thomas Ruff, Ed Ruscha, Erich Salomon, Caspar Franz Sambach, Egon Schiele, Markus Schinwald, Gundula Schulze Eldowy, Johnnie Shand Kydd, Sudarshan Shetty, Dayanita Singh, Alexandre Vincent Sixdeniers, Jan van der Straet, Mikhael Subotzky, Harunobu Suzuki, Antoni Tàpies, Juergen Teller, Liliane Tomasko, Oliviero Toscani, Rosemarie Trockel, Kaari Upson, Borjana Ventzislavova, Manfred Wakolbinger, Nari Ward, Franz West, Rachel Whiteread, Francesca Woodman, Tobias Zielony and Gilberto Zorio

    curated by Mario Codognato

    POST WEST – WEST POST, Display window, Büro Weltausstellung, Vienna, 9.9. – 5.10.2014

    Ismini Adami, Helene van Duijne, Kerstin von Gabain, Sophie Thun

    curated by Marina Sula

    Das FH-Projekt

    152 Seiten, 18 s/w-abb.,
    Format: 16,5 x 22,5 cm
    Deutsch,
    Brochiert,
    Grafik Design: Ismini Adami,
    Berlin 2014, Revolver Verlag

    Objects of China, Sotheby’s Artist Quarterly, Vienna, April – June 2014

    In her exhibition Objects of China, Kerstin von Gabain presents a series of black and white silkscreen prints that take images of taxidermy specimens – rats and birds – as their subject. The artist works with glass magic lantern slides discovered in China, the original purpose of which remains a puzzle. The cleaned slides, whose images Kerstin von Gabain has transferred onto large-format paper by means of screen printing, display clearly visible shadows and grids. Are the latter a byproduct of the printing onto the glass plates, or are the images photographic reproductions of prints? While the shadows suggest that the images have been rephotographed, the origin of the grids remains unexplained. Through the medium of screen printing, the artist succeeds in allowing the various layers of the image, the coarsely grained network of lines, and the interplay of shadows to flow together on paper to form a single entity: In addition to the mosaic-like effect, the result is a monochrome interaction of two- and three-dimensional impressions that seem to struggle for supremacy within the image.

    Raver geht ins archäologische Museum, Secession, Vienna, 11.4. –8.6.2014

    The photographs of plaster casts of limbs—some embedded in narrative theatrical productions—and assemblages made of plaster fragments are based on Gabain’s extended experimentation with the sculptures. Rather than being the final product at the end of an artistic process, her sculptures represent a starting point for playful enactments which she then captures in analogue, black-and-white photographs. The artist photographed the individual sculptures isolated against a black or grey background with a seemingly objective eye—an eye that imitates the sober and systematic recording of objects in a style reminiscent of the photographs used to document and inventory collections in museums or for scientific research.

    Bettina Spörr/Herwig Kempinger

    Raver geht ins archäologische Museum

    64 Pages, 230 x 210 cm
    Text by Herwig Kempinger/Bettina Spörr, Alessio delli Castelli, Christian Höller
    German/English
    Graphic Design: Ismini Adami
    Secession 2014
    Revolver Verlag

    If sports is the brother of labor, then art is the cousin of unemployment, CAMP, Athens, 13.9 – 11.10.2013

    Ismini Adami, Eleni Bagaki, Margarita Bofiliou, L&A lonas, The Callas, Shirin Charlot, Cut and Scrape, Helene van Duijne, Marina Faust, Michael Fischer, Kerstin von Gabain, Markus Geiger, Martin Grandits, Mario Grubisic, Axel Huber, Anna Jemolaewa, Katerina Kana, Marika Konstantinidou, Chrysanth, Kournianaki, Michael Lukas, Albert Mayr, Milan Mladenovic, Johann Neumeister, Kosmas Nikolaou, Katherina Olschbauer, Panos Papodopolous, Elisbeth Penker, Rade Petrasevic, Chloe Potter, Quenberger vs Elin, Björn Segschneider, Nino Stelzl, Lilli Thiessen, Amalia Vekri, Sanja Velickovic, Paki Vlassopoulou, Selena Vronti, Krina Vronti, Valerios, Dorota Walentynowics, Hans Weigand, Lukas Willmann, Woozy

    curated by Panos Papadopolous and Nino Stelzl

    City of broken Furniture, MAK, Austrian Museum of Applied Arts / Contemporary Art, Vienna, 20.3. – 26.5.2013

    It is in a targeted manner that Kerstin von Gabain reacts both to the “clean” aesthetic of the MAK Study Collection and to the scholarly paradigm of museum practice. Her medical-seeming sculptural interventions and strictly stylized photographs of objects allude quite deliberately to scenarios from a sanatorium or hospital. In her series of sculptures, the artist bandages and treats her previously “injured” pieces of furniture in a manner that is playfully medical, presenting scenes of imaginary suffering and abnormalities. She distributes her being-like objects around the room much like a hospital might distribute its patients. Von Gabain also photographs seating furniture from the MAK Furniture and Woodwork Collection. In doing so, her intent is to appropriate the classical pictorial composition and technique used in 19th-century medical portrait photography, as well as 19th-century methods of criminalistics. Photography as an archival tool and viewing material for phenomenological-empirical study and/or classification is of interest to the artist in the context of her examination of the MAK Study Collection. By way of parody, von Gabain also uses names, pathological systematizations, and subject typologies from the 19th century for her works’ titles. She presents objects in light of how they deviate from the norm, lending them a freak-like status. In this way, she compares the classification scheme of a knowledge-oriented display collection with that of a cabinet of curiosities. The objects, some of which seem comically monstrous, thus become a projective surface for both subjective states and institutional patterns of classification.

    curated by Janina Falkner

    Walkthrough - City of Broken Furniture by Johann Neumeister

    Out getting ribs, Gabriele Senn Galerie, Vienna, 23.3. – 28.4.2012

    Last year I got the opportunity to live and work in Tokyo for a few months. When I arrived at the studio in Arakawa (a suburb of Tokyo, that has a partnership and some similarities with the district Floridsdorf of Vienna), I found a clinically sterile cleaned and empty house. Just the closets were crammed with obviously very old, worn-out mattresses. Probably each mattress tells its own story. The ground floor of the house had a traditional “Japanese room”. Here I started to tie up the mattresses in order to photograph them. After the work was done, I untied the mattresses and packed them away, only to take them out later to tie them up again. My procedure corresponded to the conception of how a traditional Japanese room is used; After an activity used items, such as furniture, are packed away neatly. With its strict division into a certain number of “tatamis” (rice mats) the room provided a three-dimensional grid for my tied up creatures – just like a 3D graphic program. I photographed efficiently, without a tripod, balancing on a ladder, shooting my subjects from all possible perspectives using an analog camera, which decisively influenced my workflow. To see the results, I had to wait for the development of the film rolls in the laboratory, which in this case meant several trips to the other side of Tokyo. Many rolls were under- or overexposed, blurry and out of focus. Some “bindings” were photogenic, whereas others did not do so well on film. Some films turned out better, while others less, just like my days in Tokyo.

    Walkthrough – Out getting ribs by Johann Neumeister