EXHIBITIONS AND FAIRS

NEVERMORE

Christiane Peschek

Philipp Pess

Michaela Putz

PARALLEL VIENNA 2019

09/24/19 - 09/29/19

Digitalization and virtualization have given rise to a new development of spiritualism: many artists are exploring into fields of so-called ‘technoshamanism’ and the spiritual potential of digital technologies as well as the constant talk about the immortality of a digitalized consciousness.For Parallel Vienna 2019, Christiane Peschek, Philipp Pess and Michaela Putz are simulating a place of self-sacralization in form of an installation, consisting of photographic and sculptural elements. The works ensphere around the concepts of de-emotionalization and disembodiment, increasing virtualization and the dominance of digital surfaces.Using symbols and artifacts known from religious contexts, the exhibition questions their obsoleteness - and translates them into the context of an art fair.

curated by
Manuela Hillmann
&
Philipp Pess

SYNC

Marlene Mautner & Ivo Rick

Opening 05/23/19  II  7 pm

05/24/19 - 07/06/19

VENT gallery opens its second edition at a new venue.
SYNC displays works of Marlene Mautner and Ivo Rick.
The exhibition highlights artificial visions on cogitable futuristic forecasts, dealing with scientific use of knowledge and technique.

Ivo Ricks artwork begins – at an intersection – defying the obvious.
Many of his works are reminiscent of appliances that are meant to fulfil a purpose or a function. They exist in neutral to cream-colored white tones and are made of different assembly parts produced in series. They seem precise; their shape is modest; they look like design objects, appropriable art.
They simulate a function which makes perceiving them a balancing act and so their function is at first superfluous.
I have no interest in using these things. Their non-function is clear, not least because of them being in an art space. Nevertheless, I spiritually simulate a function triggered by its shape. I seek an analogy of the known –shape with the consequence of function.
Ultimately, my interest lies not in the simulation of use (which I am denied), but the shape itself, on account of it being reminiscent of functionality and therefore evoking familiarity, whilst at the same time denying it. The familiar has disposed of being banal, defying time and effort, i.e. use. Although these works are seemingly neutral and "cool", this idea is highly romantic, because it conjures up ideas of mystic absolutism – meaning without function.
All function entails usage, wear and tear and the ultimate destruction thereof. The unspecific, non-functional object is therefore spared; it does not become an arena and maintains its perfection. (Jochen Meister)


​Marlene Mautner defines alternative approaches of dealing with natural science through various methods of observation.
She depicts clever staged sceneries, by combining various objects from different areas of ​​expertise, hereby assembling natural science and photography.
In her scientific artwork Mautner is questioning the constructions of reality; is it shaped by science or by language? One of her works explores mathematics by asking the question whether it is something we discovered or rather constructed in our brains.
Her photographic works are focused on translating visual language, by creating, transforming and integrating a new imagery of structure, geometry and colours.


We are happy, to reopen VENT gallery at Lange Gasse 2
in the 8th district of Vienna, cordially invited by
HASSMANN & liebfrau.

curated by
Manuela Hillmann
&
Philipp Pess

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HEATWAVE

Luc Palmer & Christiane Peschek

Opening 11/6/18  II  7 pm

11/7/18 - 12/8/18

With HEATWAVE the first cooperation of Luc Palmer and Christiane Peschek, the two artists generated an installation dealing with the interface of painting and photography.

By creating a tension between construction and deconstruction, working with an aesthetic of destruction, the exhibition shows an emotional compound of picturesque and photographic surface altered by heat.

 

The pursuit of aesthetic perfection has already been a central point back in the days of Greek philosophy and is rediscovered in a virtualised appearance in a post internet society. Through digital and manual manipulating of the works surfaces this striving begins to struggle.

The artwork appeals with a pathologic aura, displaying wounds of abstraction, burned air, black water, porous skin; silently the ambivalent ratio of reality and (de-)construction occurs the room.

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The exhibition SIRA-ZOÉ SCHMID - THE CONCURRENT PRESENCE shows the artist's latest video performance “Desert Flower” in two acts.

 

The first act shows the so far, two-part video performance.

We see a valley in the Mojave Desert, California. A woman—the artist—enters the frame from the right, her back facing the camera. The protagonist, wearing a black dress and holding an electric-blue parasol, looks almost surreal in this barren landscape.

The protagonist walks calmly but determinedly on a straight path towards the horizon until she is no longer visible. The action of walking visualizes both ephemerality and the passing of pain and loss. At the same time, Schmid stages the walk as a meditative process—in the vastness of the landscape she reflects on the eternity of thoughts.

​With a clear and poetic visual language, Desert Flower is a universal exploration into loss and ephemerality and the various mechanisms of coping with these sensations. 

(Sophie Haslinger)

 

The second act shows a photograph, shot by visual artist Markus Oberndorfer during the performance.

This act of reducing the strong two-part video performance to just one straight photo shot, strengthens the extensive emotion, by showing the lonely, surreal women in a black dress, hidden and protected by a shiny blue parasol, walking to the deserts expansive horizon, until its disappearance. Freezing an impalpable, very wide and open emotional state of mind, it literately breaks down Sira-Zoé Schmid's performance to its basic essence.

 

Sira-Zoé Schmid, born in 1985 in Vienna, lives and works in Vienna and Salzburg.

Sira-Zoé Schmid  II  THE CONCURRENT PRESENCE

 

Opening Part One 10/6/18  II  7pm

Opening Part Two 10/20/18  II  7pm

10/8/18 - 11/1/18

DESERT FLOWER

Mojave Desert 2017 - ongoing
Technique: Video Performance, Installation with two Videos, Photograph

 

We see a valley in the Mojave Desert, California. A woman—the artist—enters the frame from the right, her back facing the camera. The protagonist, wearing a black dress and holding an electric-blue parasol, looks almost surreal in this barren landscape.

 

The protagonist walks calmly but determinedly on a straight path towards the horizon until she is no longer visible. The action of walking visualizes both ephemerality and the passing of pain and loss. At the same time, Schmid stages the walk as a meditative process—in the vastness of the landscape she reflects on the eternity of thoughts.

With a clear and poetic visual language, Desert Flower is a universal exploration into loss and ephemerality and the various mechanisms of coping with these sensations. 

Text by Sophie Haslinger

EMANUEL EHGARTNER

assorted measured coated

Opening 12/13/18 II 7pm

12/14/18 - 12/21/19

Emanuel Ehgartner is using forms of the everyday urban space in his artistic practice. Strolling through the city, he sometimes discovers objects which - for no specific reason - arouse his interest. They mostly come from an architectural, industrial or technical context and are found on abandoned construction sites or as trash beneath the street. He takes everything that is not nailed down to his studio, where he investigates these everyday objects with respect to their sculptural quality and modifies them by minimal interventions like additions and removals. Certain objects, which he cannot take to his studio, are rebuilt by himself. Through the isolation of significant constructive elements, Ehgartner abstracts these objects from the „real“ world where they originate from. So he transforms items from their functional context into only aesthetic ideas. Within this process of abstraction the use of colour is essential for Ehgartner. He gives the objects a new surface through the application of selected colours (which are also often found as “couleurs trouvés”). On the one hand, he appropriates these readymades in a subjective way, on the other hand, he supports their aesthetic quality. Due to Ehgartners subtle interventions, the link to the initial context is always maintained. His works move between two poles: Depending on the viewpoint, they can be seen as specific everyday object or as abstract minimal artwork. The idea of authenticity is absent. It is of no importance whether the things are “readymade” or built by the artist himself. The same can be said about the colours. The emancipatory potential of Ehgartner´s art lies in this conceptual equivalence. He is influenced by both, the tradition of the “avantgarde” and post-modern strategies of art production. The artist appropriates public space from which he takes his materials: rational and functional items, that always inherit the potential of an alternative use. Making these objects visible might allow a vision of another world within the existing one.

Text: Michael Wonnerth-Magnusson

Translation: Agnes Rameder

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EXHIBITIONS AND FAIRS

BJØRN Segschneider

BATMAN

10/06/19 - 11/01/19

Gotham River

HD 1080p PAL Stereo 3:05“ 2019

The video work Gotham River portrays the river Danube from its origin up to the river’s mouth at the Danube Canal and is edited to an adaption of the intro of Batman Returns. The scenes in the sewerage are visually adapted to a moonlight atmosphere as well as that of the penguin’s empire/habitat. At first, the editing cuts of the intro are transferred whereas during the middle part the dramatic sequence of the cuts are continued.

The theatrical setting of the sound enhances the arrangements of urban structures to a bizarre level. On the one hand are the familiar elements of the water course and sewerage, on the other hand a transformation of Vienna occurs - Gotham City.

 

Batman
Poster edition offset print multicolour on affiche paper DIN A1 100 copies 2019

Plakatedition Offsetdruck Vierfarb auf Affichepapier Din-A 1 100er Auflage 2019

It is a poster edition of the exhibition, done in the design of the Batman movie poster. The subject is the artist himself, disguised as Batman wearing a black Gackerl-Sackerl (bag used for dog waste).

It stands in contrast to the extremely costly gadgets of Batman and emphasises the assumption that Batman is coherently more of an attitude rather than a luxurious costume.

It is put into question to what extent the millionaire Bruce Wayne basically uses his alter ego Batman to protect a system in order to draw his wealth.

In the background, the full moon is set to 50s black and white 3D, which places the long history of Batman movies in contrast to the massive amount of gimmickry used in the latest movie adaption.

 

Catwomen’s Bomber

MA-1 flight blouson black, completely embroidered with white Polygarn, single piece 2019

MA-1 Flight Blouson schwarz, komplett durchgenäht mit weissem Poly-Garn, Einzelstück 2019

The object refers to the third and female superhero of the movie adaption. According to the manic manner of the heroin the black bomber jacket is embroidered with aggressive and ragged stiches. This also attributes to a simple urban and in youth culture identifying piece of clothing and brings the high-gloss aesthetics of the movie’s equipment back down to earth. The object is deliberately positioned, as if it were thrown onto the wall, which refers to the ballet-like and thoroughly choreographed love-hate relationship between the two characters.

 

Batman is not a superhero in a narrower sense - unlike Superman - as he does not possess any superpowers. His superiority is based on knowledge, will power, severe training, his technical devices as well as the enormous financial power of his family’s fortune. Some consider him as a saviour and hero, whereas others criticise him as a lawless avenger with questionable methods.

It has long been discussed whether Batman’s motives - the fight against crime and corruption in Gotham City - are actually as altruistic as one perceives them at first. Critics have realised that Bruce Wayne as a millionaire basically uses his alter ego to protect the system in order to protect his wealth. Batman is first and foremost not a protector of the law who is driven by justice. Instead it is his thirst for revenge which pushes him to fanatically follow his ambition, almost similar to that of a psychopath. He thereby nearly ruthlessly operates against his enemies even though acting according to his self set rules.

On top of that, the versions show how Batman’s appearance and disguise in large part create the enemies whom he then has to combat. Even his enemies hereby create their own necessary methods in order to carry out a narcissistic contest at the expenses of society. With the use of disguise in order to create something big and better for the world, each one of the characters push their visions of society, and therefore ideology, in a selfish manner. By doing so they create the means and situations in order to assert their ideas with the usage of gadgets, events, images and movements. It is a multilogue between all counterparts who appear as lone warriors, whereas each one of them wouldn’t exist by the means of this construct.

Each and every one of them insist on their indigenousness and uniqueness and are also convinced of constructing something monumental. However, in the end, it is about self-fulfilment as well as the production of egocentric visions in a parallel society. The population/society becomes the recipient/observer. Everyone claims to be achieving something epical and therefore to be needed by humanity/culture. Welcome to the art world.

 

curated by
Manuela Hillmann & Philipp Pess

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NEVERMORE

Christiane Peschek

Philipp Pess

Michaela Putz

PARALLEL VIENNA 2019

09/24/19 - 09/29/19

Digitalization and virtualization have given rise to a new development of spiritualism: many artists are exploring into fields of so-called ‘technoshamanism’ and the spiritual potential of digital technologies as well as the constant talk about the immortality of a digitalized consciousness.For Parallel Vienna 2019, Christiane Peschek, Philipp Pess and Michaela Putz are simulating a place of self-sacralization in form of an installation, consisting of photographic and sculptural elements. The works ensphere around the concepts of de-emotionalization and disembodiment, increasing virtualization and the dominance of digital surfaces.Using symbols and artifacts known from religious contexts, the exhibition questions their obsoleteness - and translates them into the context of an art fair.

curated by
Manuela Hillmann
&
Philipp Pess

1/4

SYNC

Marlene Mautner & Ivo Rick

Opening 05/23/19  II  7 pm

05/24/19 - 07/06/19

VENT gallery opens its second edition at a new venue.
SYNC displays works of Marlene Mautner and Ivo Rick.
The exhibition highlights artificial visions on cogitable futuristic forecasts, dealing with scientific use of knowledge and technique.

Ivo Ricks artwork begins – at an intersection – defying the obvious.
Many of his works are reminiscent of appliances that are meant to fulfil a purpose or a function. They exist in neutral to cream-colored white tones and are made of different assembly parts produced in series. They seem precise; their shape is modest; they look like design objects, appropriable art.
They simulate a function which makes perceiving them a balancing act and so their function is at first superfluous.
I have no interest in using these things. Their non-function is clear, not least because of them being in an art space. Nevertheless, I spiritually simulate a function triggered by its shape. I seek an analogy of the known –shape with the consequence of function.
Ultimately, my interest lies not in the simulation of use (which I am denied), but the shape itself, on account of it being reminiscent of functionality and therefore evoking familiarity, whilst at the same time denying it. The familiar has disposed of being banal, defying time and effort, i.e. use. Although these works are seemingly neutral and "cool", this idea is highly romantic, because it conjures up ideas of mystic absolutism – meaning without function.
All function entails usage, wear and tear and the ultimate destruction thereof. The unspecific, non-functional object is therefore spared; it does not become an arena and maintains its perfection. (Jochen Meister)


​Marlene Mautner defines alternative approaches of dealing with natural science through various methods of observation.
She depicts clever staged sceneries, by combining various objects from different areas of ​​expertise, hereby assembling natural science and photography.
In her scientific artwork Mautner is questioning the constructions of reality; is it shaped by science or by language? One of her works explores mathematics by asking the question whether it is something we discovered or rather constructed in our brains.
Her photographic works are focused on translating visual language, by creating, transforming and integrating a new imagery of structure, geometry and colours.


We are happy, to reopen VENT gallery at Lange Gasse 2
in the 8th district of Vienna, cordially invited by
HASSMANN & liebfrau.

curated by
Manuela Hillmann
&
Philipp Pess

1/1

Rūtenė Merk II VIRTUALACRA

9/3/18 - 10/3/18

URBANDICTIONARY.COM: Virtualacra is a disturbing intersection of the real-world and virtual aspects of one's experience; a train wreck caused by one's interpersonal and Internet lives colliding.

 

CHUCK NOLAND: We’ve made real fire, huh, Wilson. So, Wilson?

 

ART HISTORIAN: Here we grasp the roots of that very contradiction which will forever characterise images: images make a physical (a body’s) absence visible by transforming it into iconic presence. The mediality of images is thus rooted in a body analogy.

 

EDITOR: Julliene never seems to stress much and will spend her days in peace. After waking up very early at midnight she will spend the next six hours wandering aimlessly around the Lustratorium. At 6am she will pick up her mortar & pestle and start mixing up potions, eventually stopping at 10am. Her remaining time, until 6pm, she will spend wandering around the Alchemy center before heading back to the upper floor of the Mage Quarters and going back to bed.

 

FIRST PHILOSOPHER: A text lives only if it lives on, and it lives on only if it is at once translatable and untranslatable. Totally translatable, it disappears as a text, as writing, as a body of language. Totally un-translatable, even within what is believed to be one language, it dies immediately.

 

SECOND PHILOSOPHER: Even the Pyramid, however, will not be as interesting as the dead king within it, as he is the only subject whose dreams are truly worth interpreting.

 

GENERAL HEIN: Where is the PROOF?

 

DOCTOR AKI ROSS: Here

Selected exhibitions include:

(How did I get here) Painting in Lithuania, Contemporary Art Centre, Vilnius, 2012;

24 Spaces – a Cacophony, Malmö Konsthall, Sweden, 2014;

Body and Darkness, Vartai Gallery, Vilnius, 2017;

Children of the New East, Art Hall Tallinn, Estonia, 2017;

Whit Walkers, Talinas 10, Riga, 2017;

JCDecaux Prize, Contemporary Art Centre, Vilnius, 2017;

Entangled Tales, Rupert, Vilnius, 2018;

Virtualacra, AdBK München, Jahresausstellung, 2018;

Spirits Within (solo), Project Space Editorial, 2018.

PARALLEL VIENNA 2018

Room 1.24

9/25/18 - 10/30/18

BUSTER 

6/18/18 - 7/5/18​

JJ Ramsauer

Bastian Schwind

VENT 

5/21/18 - 6/15/18​

Judith Adelmann

Markus Oberndorfer

Philipp Pess

Gallery Opening

VENT

5/19/18​

Judith Adelmann

Markus Oberndorfer

Philipp Pess

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PARALLEL VIENNA 2018

Opening 9/25/2018

9/25/18 - 9/30/18

Judith Adelmann 
Rūtenė Merk
Philipp Pess

Sira-Zoé Schmid

I AM YOUR ORACLE

A performative mediation

10/11/2018  II  7pm

open end

While on Artist in Residency in the US in 2017 Sira-Zoé Schmid created her latest two-part video performance “Desert Flower“. “With a clear and poetic visual language, „Desert Flower“ is a universal exploration into loss and ephemerality and the various mechanisms of coping with these sensations“ (Sophie Haslinger).

 

In her performative mediation at V E N T gallery, Sira-Zoé Schmid uses the oracle prospects of Patience, a mystical card game used to tell your future. Winning or losing in this fateful case means yes or no. Patience; in a not so mystical meaning is better known as the game of a million hastily concealed PC windows. Its popularity might derive from its strangely hypnotic nature, even though it takes real persistence to win.

At V E N T gallery, Schmid stages the fateful game into a mystically surrounding.

By laying the cards on illustrative questions, dealing with the context of her video performance “Desert Flower”, she reveals the basic thoughts of this art work.

 
 
 
 
 
 
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Lange Gasse 2/6

1080 Wien

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