Feminale 23
Belinda Cadburg
Judith P. Fischer
Marie-France Goerens
Ingeborg G. Pluhar
Andrea Pernegr
Veronika Rodenberg
Tonneke Sengers
Irene Wölfl
opening: June 15th, 7:00 - 9:00 pm
7.30 pm: opening words by Katrin Bucher Trantow - Chief Curator, Deputy Director Kunsthaus Graz / A
exhibition: June 16th - August 31rst, 2023
7.30 pm: opening words by Katrin Bucher Trantow - Chief Curator, Deputy Director Kunsthaus Graz / A
exhibition: June 16th - August 31rst, 2023
Feminale 23 presents eight contemporary positions of female visual artists in dialogue with each other.
At first glance, the romantic-seeming upholstered sculptures and pencil drawings of rows of upholstery by Judith P. Fischer stand in apparent contradiction to the "empty finds" of Ingeborg G. Pluhar's collages made from advertising pages of forgotten magazines, in which Ingeborg G. Pluhar erases precisely the product being promoted in order to elevate its ambience to the status of protagonist. Andrea Pernegr lovingly and expressively abstracts the intimacy of her everyday field of experience, while Marie-France Goerens composes her works directly from the support material itself, the canvas grounds. Irene Wölfl takes a similar yet completely different approach, layering "found objects" to illustrate the ambience of old book pages and telling new poetic stories by painting over a certain passages of text. Belinda Cadbury uses delicate pencil strokes to create intricate constructive patterns on paper, whose unexpected changes in rhythm are mysteriously irritating. Tonneke Sengers shapes her oblique tear rhythms into two-dimensional architectural illusions floating in front of the wall, while Veronika Rodenberg's radically minimalist squares create a mathematically constructed harmony through division and colored accents.
At first glance, the romantic-seeming upholstered sculptures and pencil drawings of rows of upholstery by Judith P. Fischer stand in apparent contradiction to the "empty finds" of Ingeborg G. Pluhar's collages made from advertising pages of forgotten magazines, in which Ingeborg G. Pluhar erases precisely the product being promoted in order to elevate its ambience to the status of protagonist. Andrea Pernegr lovingly and expressively abstracts the intimacy of her everyday field of experience, while Marie-France Goerens composes her works directly from the support material itself, the canvas grounds. Irene Wölfl takes a similar yet completely different approach, layering "found objects" to illustrate the ambience of old book pages and telling new poetic stories by painting over a certain passages of text. Belinda Cadbury uses delicate pencil strokes to create intricate constructive patterns on paper, whose unexpected changes in rhythm are mysteriously irritating. Tonneke Sengers shapes her oblique tear rhythms into two-dimensional architectural illusions floating in front of the wall, while Veronika Rodenberg's radically minimalist squares create a mathematically constructed harmony through division and colored accents.