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Wednesday 29 August 2018
Publication, Peter Jellitsch, Automatic Writing & Everything Else, We all got our heads in the cloud, Verlag für moderne Kunst, BLA Foundation, June 2018
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Exhibition text, Group show, Caecilia Brown, Alex Ruthner, Thea Moeller, Marina Sula, Kerstin von Gabain, Gabriele Senn Galerie, Vienna, April 2018
Outside In
All the artists featured in this exhibition have an ongoing occupation with public space in their
practice and explore its different components placed within the gallery setting. Including such
diverse distances from and to those accessible territories, we are presented with positions
operating from the meta level alongside works with ever diminishing distance until we end up at
our bodies.
Caecilia Brown focuses on public space as a seismograph revealing societal implications.
While often citing components of urban space, the replicas are almost beyond recognition due
to profuse processing. Generated from considerably solid and weighty materials, they still end
up looking remarkably light. Her sculpture on display is a hanging replication of concrete
balancing weights usually installed along train tracks, but made of wax. The title is charged with
manifold linguistic usages involving allusions to the actual weight of the original, conscience and
prostitutes (whose work environment is often the public space).
Alex Ruthner’s paintings of meadows unveil a longing for the virginal and pristine space. Albeit,
some paintings of this series, uncannily only upon a closer look, disclose the corruption of such
spots. The sort of litter found in his meadows, mostly drugs, hint at subcultural festivals or
parties and may allow us to see the connotations between different paths to escapism. In his
body of work, immediacy is bypassed via the use of images as the template. This frequently
entails the back and forth of borrowed art historical references by other media such as fashion
advertising, which Ruthner seems to repossess by, in turn, painting the adaptation.
Thea Moeller’s interest mainly lies in deterritorializing architectural forms. After swiftly taking
pictures of a wide range of buildings, she slows down and scans the photographs meticulously
until she decides on the details she is going to reproduce, devoid of its usual context and
function, only to accelerate again and rapidly engineer her works. They are meant to be
somewhat unfinished, imperfect and only loosely reminiscent of their origins. Further, her
fondness of prototypes dictates that the first attempt in production is the only one.
Marina Sula’s bench seems to encourage us to rest, simultaneously though, the materials it
consists of are anything but signalling comfort, the surface being transparent with hoses and a
face mask among others displayed. All those utensils are hidden byproducts of our everyday
life. While hoses are not decorative enough to be displayed, face masks are part of a private
ritual. Both play into Sula’s interest in the body and its absence - the hose transporting water,
while face masks are put on the skin and allow the nourishing ingredients to penetrate it.
Containing solid, liquid and processed materials as well as pharmaceutical and organic goods, a
delicate system of stability and instability in an increasingly complex scenario between all too
human “shortcomings” and communicative capitalism’s codes of conduct are being explored.
Kerstin von Gabain detects everyday objects, sometimes an architectural detail, and initially
maps out the precise idea of how the work itself as well as the picture she is taking of it has to
look, and by which materials and means the result must be completed. The perfection in the
formal likeness is further often achieved by taking casts of the objects, but evoking
estrangement by reproducing them with surprising materials. Her work for this exhibition
reminds of a climbing wall, with references to her recurrent use of bones as templates, redone
in wax, everting and displaying it on the wall.
All the artists featured in this exhibition have an ongoing occupation with public space in their
practice and explore its different components placed within the gallery setting. Including such
diverse distances from and to those accessible territories, we are presented with positions
operating from the meta level alongside works with ever diminishing distance until we end up at
our bodies.
Caecilia Brown focuses on public space as a seismograph revealing societal implications.
While often citing components of urban space, the replicas are almost beyond recognition due
to profuse processing. Generated from considerably solid and weighty materials, they still end
up looking remarkably light. Her sculpture on display is a hanging replication of concrete
balancing weights usually installed along train tracks, but made of wax. The title is charged with
manifold linguistic usages involving allusions to the actual weight of the original, conscience and
prostitutes (whose work environment is often the public space).
Alex Ruthner’s paintings of meadows unveil a longing for the virginal and pristine space. Albeit,
some paintings of this series, uncannily only upon a closer look, disclose the corruption of such
spots. The sort of litter found in his meadows, mostly drugs, hint at subcultural festivals or
parties and may allow us to see the connotations between different paths to escapism. In his
body of work, immediacy is bypassed via the use of images as the template. This frequently
entails the back and forth of borrowed art historical references by other media such as fashion
advertising, which Ruthner seems to repossess by, in turn, painting the adaptation.
Thea Moeller’s interest mainly lies in deterritorializing architectural forms. After swiftly taking
pictures of a wide range of buildings, she slows down and scans the photographs meticulously
until she decides on the details she is going to reproduce, devoid of its usual context and
function, only to accelerate again and rapidly engineer her works. They are meant to be
somewhat unfinished, imperfect and only loosely reminiscent of their origins. Further, her
fondness of prototypes dictates that the first attempt in production is the only one.
Marina Sula’s bench seems to encourage us to rest, simultaneously though, the materials it
consists of are anything but signalling comfort, the surface being transparent with hoses and a
face mask among others displayed. All those utensils are hidden byproducts of our everyday
life. While hoses are not decorative enough to be displayed, face masks are part of a private
ritual. Both play into Sula’s interest in the body and its absence - the hose transporting water,
while face masks are put on the skin and allow the nourishing ingredients to penetrate it.
Containing solid, liquid and processed materials as well as pharmaceutical and organic goods, a
delicate system of stability and instability in an increasingly complex scenario between all too
human “shortcomings” and communicative capitalism’s codes of conduct are being explored.
Kerstin von Gabain detects everyday objects, sometimes an architectural detail, and initially
maps out the precise idea of how the work itself as well as the picture she is taking of it has to
look, and by which materials and means the result must be completed. The perfection in the
formal likeness is further often achieved by taking casts of the objects, but evoking
estrangement by reproducing them with surprising materials. Her work for this exhibition
reminds of a climbing wall, with references to her recurrent use of bones as templates, redone
in wax, everting and displaying it on the wall.
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