Reduction + Emotion
Walter Angerer-Niketa
John Carter
Judith P. Fischer
Gerhard Frömel
Duks Koschitz
Andrea Maria Krenn
Ray Malone
Opening: 14.11.2024
opening words: Magdalena Koschat, Art-Consulting
on view: 15/11/2024 – 16/01/2025
opening words: Magdalena Koschat, Art-Consulting
on view: 15/11/2024 – 16/01/2025
Beauty emotionalizes. The reduction to pure harmony is a sensual delight. For the creators as well as for the viewers. The exhibition "Reduction + Emotion" shows, despite all theories, how emotional geometric constructive minimalism can be.
"These are not armchairs" and is that a "cushion"? Judith P. Fischer depicts these everyday objects, reducing them to associated emotions. By stretching a line into a rhythmic geometric weave, the wall itself becomes an emotionalizing image.
John Carter prefers to develop cubic wall objects. Three-dimensional basic forms. The shifts in geometry within the form open up slits, breaks, glimpses, irritations, which John Carter subtly underlines with fine colors.
Poems inspire Ray Malone for the series ‘An Undestroyable Hush’. Horizontal lines, compressed to loose. Stacked one below the other in a slim format. The intuitive arrangement of the lines, their stroke width, their swing interpret the respective poem, its mood, its rhythm.
Anna Maria Krenn processes museum visits in constructive miniatures. She condenses fragments of postcards into spatially folded and layered rectangular surfaces. In a second series "Planets", circular surfaces and circular segments reveal strange atmospheres.
Duks Koschitz folds lightweight concrete panels into impressive baroque minimalisms. The folding architectures appear baroque due to the twisted interplay of surroundings and spaces in the emerging object. Starting with a flat outline and a curved fold line, Duks Koschitz formulates an exclusive spatial language of form.
In modernism, the square was a turning point in reductive representation, the maximum in the minimal. Gerhard Frömel is enthusiastic about the square, staging it in surprising variety. Shifting between surface and space, Frömel's works are clearly ambiguous. The work and one's own perception of the work change depending on the perspective.
For Walter Angerer-Niketa, working on stone as well as on wood is an attempt to achieve a shift, a vibration with the smallest change, with the slightest reduction in volume. And as in sculpture, Walter Angerer-Niketa also plays with the ambivalence between meditative statics and the movement that slowly develops within them in his constructive drawings and paintings.
"These are not armchairs" and is that a "cushion"? Judith P. Fischer depicts these everyday objects, reducing them to associated emotions. By stretching a line into a rhythmic geometric weave, the wall itself becomes an emotionalizing image.
John Carter prefers to develop cubic wall objects. Three-dimensional basic forms. The shifts in geometry within the form open up slits, breaks, glimpses, irritations, which John Carter subtly underlines with fine colors.
Poems inspire Ray Malone for the series ‘An Undestroyable Hush’. Horizontal lines, compressed to loose. Stacked one below the other in a slim format. The intuitive arrangement of the lines, their stroke width, their swing interpret the respective poem, its mood, its rhythm.
Anna Maria Krenn processes museum visits in constructive miniatures. She condenses fragments of postcards into spatially folded and layered rectangular surfaces. In a second series "Planets", circular surfaces and circular segments reveal strange atmospheres.
Duks Koschitz folds lightweight concrete panels into impressive baroque minimalisms. The folding architectures appear baroque due to the twisted interplay of surroundings and spaces in the emerging object. Starting with a flat outline and a curved fold line, Duks Koschitz formulates an exclusive spatial language of form.
In modernism, the square was a turning point in reductive representation, the maximum in the minimal. Gerhard Frömel is enthusiastic about the square, staging it in surprising variety. Shifting between surface and space, Frömel's works are clearly ambiguous. The work and one's own perception of the work change depending on the perspective.
For Walter Angerer-Niketa, working on stone as well as on wood is an attempt to achieve a shift, a vibration with the smallest change, with the slightest reduction in volume. And as in sculpture, Walter Angerer-Niketa also plays with the ambivalence between meditative statics and the movement that slowly develops within them in his constructive drawings and paintings.