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FEMINALE
Belinda Cadbury, Julie Hayward, Isabelle Muehlbacher,
Sara Roeth, Majla Zeneli


exhibition: 9/9 – 11/10/2016
opening: 8. 9. 2016, 19.30 Uhr
to the exhibition: Mag. Maria Christine Holter, Kunsthistorikerin 

Abstract art emotionalises because it leaves everything open, provokes viewers to act on their own initiative and to interpret personally. The five positions of the exhibition “Feminale” present different ways to stir up a sense of one’s own responsibility when faced with sentimentality and sensitivity.

Julie Hayward’s objects seem to be organic machines or mechanistic creatures: amorphous, extra-terrestrial, alien and nonetheless somehow familiar. Perfectly and precisely composed – the concept behind them is nonetheless unidentifiable. Inexplicable, dematerialised: an unreality all their own, which certainly could be reality in another galaxy.

Belinda Cadbury draws mathematical-geometrical musical scores on paper. These abstract mental processes become concentrated into a visual music in their rhythmic repetition. The sensitive mind is obliged to decode and to enjoy the dramaturgy and the sensibility of these patterns made up of lines and shapes.

Majla Zeneli’s polychrome heliographs recall black-and-white-photos of the silent-film era: simultaneously still and captivatingly articulate. She generates their narrative quality and their stimulating mysteriousness through the superimposed printing of her graphic collages consisting of paths, simple shapes and contrasts.

Isabelle Mühlbacher is an artist who understands how to surprise (first of all) herself with her works. In working through her subconscious, she creates cocoon-like networks, vegetable structures: contradictory quotations from life and an express of vitality.

Sara Röth is still at the beginning of her career as a painter. Nonetheless she has already undergone an astounding amount of development. Self-critical, demanding of herself and persistently working on herself, Röth’s work on the canvas has matured from the realistic period of her “apprenticeship” to an abstract and expressive use of the brush and colour as well as a lightness that are distinctively her own.


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