Christian Hutzinger, Johannes Vogl
24 Oct - 25 Nov 2006
CHRISTIAN HUTZINGER, JOAHANNES VOGL
Opening: Tuesday, October 24th 2006, 7 p.m.
Exhibition duration: 25.10. – 25.11.2006
Galerie Martin Janda
Raum Aktueller Kunst
A-1010 Wien, Eschenbachgasse 11
Tue-Fr 1 – 6 p.m., Sat 11 a.m. – 3 p.m.
>Christian Hutzinger
From October 24 until November 25, 2006, Galerie Martin Janda is showing new works by Christian Hutzinger. In addition to large-format acrylic paintings, a new series of collages is on display on the gallery’s upper level.
The artist’s new works break with some of the principles of earlier works. The expanded palette is apparent right away. In the past it was limited to toned-down, mixed colours; his new works convincingly employ the full spectrum of colour on a black background. In Hutzinger’s work, space is hinted at; it is more visual conjecture than comprehensible composition. Perfect forms in intense colours stacked one on top of the other are stabilised by a vertical line, as rod or framework. In the next painting, this apparent rigidity and structure is reworked. The forms become jumbled; structuring principles are dispensed with altogether.
Two works from early this year refine a system which Hutzinger has been involved with in the recent past: the surface of a wall or image is defined as cross-section of a vessel, then filled with a wide range of forms. The representation of everyday objects and intimations of landscape are reduced to a bare minimum. A vertical form and rectangles with rounded corners call to mind a tree which has lost its leaves or fruit. "A strange world which grows and falls apart again" emerges. (Christian Hutzinger)
Christian Hutzinger intentionally applies divergent composition principles and methods of arriving at form in the different media: drawings, acrylic paintings and murals follow different "linguistic" strategies. In the drawings, the artist brings background patterns into play in order to construct spaces which he furnishes with chairs, tables and other everyday objects. In the coinciding drawings the objects are suspended, detached from the still indecipherable space.
Christian Hutzinger (born 1966 in Vienna) is based in Vienna.
>Johannes Vogl
In the gallery’s new Project Space we are showing an installation by the young German artist Johannes Vogl. For his first gallery exhibition he has built a machine which shoots gold projectiles at the exhibition space’s walls.
The apparatus consists of a simple wood ladder, upon which Vogl mounted wheels, a tray and a swivel arm. At the end of the swivel arm is a firing mechanism with combustion chamber. Propelled by a propane-gas explosion, the gold projectiles – cast expressly for this work – penetrate the walls of the Project Space.
In his work 1 oz.tr., 2006, Johannes Vogl makes reference to the criminal tactics of certain mine-owners who, in the nineteenth century, shot gold nuggets into mines which were already depleted in order to trick naive “forty-niners” into buying them. But 1 oz.tr. also incorporates a witty, critical approach to the exhibition circuit’s structure. Vogl responds to the excessive importance attached to the white cube not by inflicting a mortal wound, but a minor injury – and in a further twist, by using fine gold, calls it into question once again.
Johannes Vogl (born 1981 in Kaufbeuren) is based in Vienna.
© Christian Hutzinger
Untitled, 2006
Acrylic on canvas
Opening: Tuesday, October 24th 2006, 7 p.m.
Exhibition duration: 25.10. – 25.11.2006
Galerie Martin Janda
Raum Aktueller Kunst
A-1010 Wien, Eschenbachgasse 11
Tue-Fr 1 – 6 p.m., Sat 11 a.m. – 3 p.m.
>Christian Hutzinger
From October 24 until November 25, 2006, Galerie Martin Janda is showing new works by Christian Hutzinger. In addition to large-format acrylic paintings, a new series of collages is on display on the gallery’s upper level.
The artist’s new works break with some of the principles of earlier works. The expanded palette is apparent right away. In the past it was limited to toned-down, mixed colours; his new works convincingly employ the full spectrum of colour on a black background. In Hutzinger’s work, space is hinted at; it is more visual conjecture than comprehensible composition. Perfect forms in intense colours stacked one on top of the other are stabilised by a vertical line, as rod or framework. In the next painting, this apparent rigidity and structure is reworked. The forms become jumbled; structuring principles are dispensed with altogether.
Two works from early this year refine a system which Hutzinger has been involved with in the recent past: the surface of a wall or image is defined as cross-section of a vessel, then filled with a wide range of forms. The representation of everyday objects and intimations of landscape are reduced to a bare minimum. A vertical form and rectangles with rounded corners call to mind a tree which has lost its leaves or fruit. "A strange world which grows and falls apart again" emerges. (Christian Hutzinger)
Christian Hutzinger intentionally applies divergent composition principles and methods of arriving at form in the different media: drawings, acrylic paintings and murals follow different "linguistic" strategies. In the drawings, the artist brings background patterns into play in order to construct spaces which he furnishes with chairs, tables and other everyday objects. In the coinciding drawings the objects are suspended, detached from the still indecipherable space.
Christian Hutzinger (born 1966 in Vienna) is based in Vienna.
>Johannes Vogl
In the gallery’s new Project Space we are showing an installation by the young German artist Johannes Vogl. For his first gallery exhibition he has built a machine which shoots gold projectiles at the exhibition space’s walls.
The apparatus consists of a simple wood ladder, upon which Vogl mounted wheels, a tray and a swivel arm. At the end of the swivel arm is a firing mechanism with combustion chamber. Propelled by a propane-gas explosion, the gold projectiles – cast expressly for this work – penetrate the walls of the Project Space.
In his work 1 oz.tr., 2006, Johannes Vogl makes reference to the criminal tactics of certain mine-owners who, in the nineteenth century, shot gold nuggets into mines which were already depleted in order to trick naive “forty-niners” into buying them. But 1 oz.tr. also incorporates a witty, critical approach to the exhibition circuit’s structure. Vogl responds to the excessive importance attached to the white cube not by inflicting a mortal wound, but a minor injury – and in a further twist, by using fine gold, calls it into question once again.
Johannes Vogl (born 1981 in Kaufbeuren) is based in Vienna.
© Christian Hutzinger
Untitled, 2006
Acrylic on canvas