"ART VIENNA 2023" im Schloß Schönbrunn
On display are essentially sculptural stand and wall objects by the internationally exhibiting southern German artists
Jörg Bach (sculptures, paintings) and Willi Siber (wall objects) and Austrian artists such as Bettina Paschke (drawings) and Walter Weer (wall objects).
about their works ; read more ...
Schönbrunner Schloßstraße 47, Tor 2, 1130 Wien.
(mit Klick auf die kursiv/unterlegten Namen werden sie zu den
Künstlerportraits bzw deren WEB-site weitergeleitet.
| Jörg Bach | Bettina Paschke | Willi Siber | Walter Weer |
They close themselves off from their environment, form inner and intermediate spaces and at the same time radiate out into the room, which in turn places greater demands on the viewer (other), because ultimately it depends on his perspective which aspects of the work he perceives and experiences.
His large sculptures, on the other hand, blend into the surrounding natural landscape as autonomous structures, withdrawing into themselves like plants in order to unfold simultaneously, thus interacting with us and their environment as aesthetic fixed points, self-sufficient, yet in a permanent dynamic of constantly changing surface structures as they change position.In his pictures (oil papers, which originally served, for example, as interlayers for the steel sheets delivered), his way of recycling, as a reprocessing of what has been used and consumed while largely preserving the traces of previous use, is the starting point for exciting, unforeseen formal elements.
Bettina Paschke (A) is fascinated by the pleasure of truncating, focussing and limiting her "figures" "... the simpler the better ! (BP)" from birth. From the very beginning, her drawings show a process of graphic growth based on fine individual strokes, which characterises the growth of these webs of strokes as an abstract game between the draughtswoman and her system of strokes.
In her overpaintings, on the other hand, which are based on representational drawings, the handling of the "flawed", fading out, concealing and reducing is thematised in order to ultimately hit "a point of greatest tension" precisely, in which the drawing in progress does not yet dissolve.
Willi Siber (D), on the other hand, is interested in the tightrope walk between antipodes. His material and formal language is a product of tracking down unexpected manifestations in the supposedly familiar. It always contains moments of ambiguity
and foreboding, unapproachable and mysterious. Whichever artistic medium he chooses, he always stages doubts about visual certainty. The artist sets the formal-aesthetic balance and the equilibrium between structure and form, space and light in his pictorial compositions so high that the viewer can choose between formal, emotional, affective and metaphorical levels of perception. The viewer is always thrown back on the freedom of his visual decision, on his visual faculty and his ability to decipher the diversity and heterogeneity of the position, arrangement, colourfulness and transparency of the surfaces, forms, gestures, materials and surfaces.
The viewer becomes a participant. It becomes their task to find answers and to surrender to the fascination of form.
For Walter Weer (A) paper is ultimately the basic element of his work; he works in it and with it. In his unusually dense and consistent creation of works, several constants stand out. The construction - deconstruction, the paper, its wrapping and nesting - the constriction and the liberation of the constricted. At the same time, he is adept at not revealing the sculptural context that was created in this way.
He raises questions, as is the nature of art, and persistently pursues these problems.
"Behind the scenes" - the stand construction . . .
