An Idea in Drawing and Form
Walter Angerer-Niketa (1940-2021)
John Carter
Roland Goeschl (1932-2016)
Karl Kriebel
Christiane Reiter
Bogumila Strojna
Opening: 24.4.2025
opening words: Peter Assmann, art-historian
on view: 25/04/2025 - 04/06/2025
opening words: Peter Assmann, art-historian
on view: 25/04/2025 - 04/06/2025
The two-dimensional representation of an idea can serve as a precursor to a spatial solution, but it can also provide an entirely independent new interpretation of the same concept. The various approaches and possible nuances in between are what we aim to illustrate with "An Idea in Drawing and Form."
Walter Angerer-Niketa always examined an existential phenomenon in his geometric reductions, initially in two dimensions. Construction lines through marbled gray-tone surfaces incorporate space into his gouaches, making it transparent and visible, yet not dissolvable. In sculpture, Angerer's reflections sometimes led to entirely independent forms—forms that are always in the process of rising, of moving forward.
Basic shapes like the square serve as the starting point for John Carter’s compositional forms. The repetition of a shape, its slight distortion, changes in size, overlapping, and color gradation result in the distinctive aesthetic of his work. John Carter first envisions this puristic web of forms in flat designs and graphics. In the objects, the deformed, nested parts reveal gaps and omissions. Minimalism with depth.
A sculptor like Roland Goeschl almost always thinks in spatial terms, which is why his paper works alternated with his work on sculptures. The resulting pieces sometimes have a sketch-like quality, quickly capturing an idea, but also a concretely thought-out, model-like precision. Goeschl always incorporated movement and chance into his concrete, geometric works, giving his art a certain enigmatic quality.
Lines of varying widths and shades of gray, subtly enhanced by color fields, evoke fictional deconstructivist glass architecture on a single plane. These are spatial images composed of lines and surfaces. Karl Kriebel takes this third dimension in two-dimensional form a step further by painting over cubic shapes with his illusion of glass space. An apparent minimalist transparency envelops a solid cubic form.
Christiane Reiter’s process is based on an algorithm, an origami fold, and colored pencils in three colors, forming the foundation for 48 paper reliefs. The fold of the A4 sheet creates a diagonal grid, with the resulting square fields being colored by Reiter using the pencils. The sequence of colors is dictated by chance. The handwriting of the meditative, analog painting process highlights a special reverence for the artwork as a unique subject.
Architectural fragments that carry the Bauhaus DNA within them, playfully evolving its philosophy into the present day. Bogumila Strojna references the form language of Bauhaus modernism—foundational to all design and contemporary architecture—through angled aluminum sheets arranged in a grid. What is compelling about her cubic abstraction is the reduction of form. Her thoughts on these works are captured in the flat-colored pencil drawings.
Walter Angerer-Niketa always examined an existential phenomenon in his geometric reductions, initially in two dimensions. Construction lines through marbled gray-tone surfaces incorporate space into his gouaches, making it transparent and visible, yet not dissolvable. In sculpture, Angerer's reflections sometimes led to entirely independent forms—forms that are always in the process of rising, of moving forward.
Basic shapes like the square serve as the starting point for John Carter’s compositional forms. The repetition of a shape, its slight distortion, changes in size, overlapping, and color gradation result in the distinctive aesthetic of his work. John Carter first envisions this puristic web of forms in flat designs and graphics. In the objects, the deformed, nested parts reveal gaps and omissions. Minimalism with depth.
A sculptor like Roland Goeschl almost always thinks in spatial terms, which is why his paper works alternated with his work on sculptures. The resulting pieces sometimes have a sketch-like quality, quickly capturing an idea, but also a concretely thought-out, model-like precision. Goeschl always incorporated movement and chance into his concrete, geometric works, giving his art a certain enigmatic quality.
Lines of varying widths and shades of gray, subtly enhanced by color fields, evoke fictional deconstructivist glass architecture on a single plane. These are spatial images composed of lines and surfaces. Karl Kriebel takes this third dimension in two-dimensional form a step further by painting over cubic shapes with his illusion of glass space. An apparent minimalist transparency envelops a solid cubic form.
Christiane Reiter’s process is based on an algorithm, an origami fold, and colored pencils in three colors, forming the foundation for 48 paper reliefs. The fold of the A4 sheet creates a diagonal grid, with the resulting square fields being colored by Reiter using the pencils. The sequence of colors is dictated by chance. The handwriting of the meditative, analog painting process highlights a special reverence for the artwork as a unique subject.
Architectural fragments that carry the Bauhaus DNA within them, playfully evolving its philosophy into the present day. Bogumila Strojna references the form language of Bauhaus modernism—foundational to all design and contemporary architecture—through angled aluminum sheets arranged in a grid. What is compelling about her cubic abstraction is the reduction of form. Her thoughts on these works are captured in the flat-colored pencil drawings.