Svenja Deininger regards painting as a process: she does not consider her pictures, on which she often works over long periods of time, to be self-contained entities. The process of creating an image rather serves to stimulate reflection and acts as a mental continuation of a form or composition – the imagining of the future picture and how it is located in a spatial context are thus essential elements of the artistic process. As if working on a text the artist elaborates and polishes the syntax of her art. She considers her works to be parts of a system that require their interrelations to be analysed whenever they encounter one another. She alternates large and small format pictures and by means of combining and positioning them in a space she creates a tension, which, together with her range of shapes, results in a ‘Deiningerian idiom’.
For her show Echo of a Mirror Fragment in the main exhibition space of the Secession, Svenja Deininger [...]
“This project works as a setting to represent an abstract situation about perceiving the future during the present time, using the gallery space and its boundaries as a container in which the future will, in a metaphorical sense, dwell for the duration of the exhibition. The exhibition is a fictional event that operates with the introduction of site-specific works resembling boxes to resonate with the physical qualities of the place and the light entering from outside to produce a particular atmosphere. Space and time collide in a phenomenological experience during the opening hours, while the present, the year 2017, is on the other side of the walls, in adjacent rooms and outside the Secession building.” (Gabriel Sierra)
Conceived especially for the Secession, Gabriel Sierra's installation grows out of his philosophical reflections on space and time. He is concerned with the idea of the present time and the moment when the visitor – as spectator [...]
Norton Museum of Art, 04.02.–16.04.2017
The Norton’s sixth RAW (Recognition of Art by Women) exhibition will premiere the first solo museum exhibition of Svenja Deininger (Austrian, born 1974). Deininger is one of a new generation of abstract painters, aware of the rich history of abstraction, yet creating complex canvases originating from her sophisticated, knowledgeable and intuitive response to process, imagery, and materials. This exhibition of approximately 25 canvases will be assembled with the artist’s participation and will explore specific themes of the last five years.
The Norton’s annual RAW exhibition was founded in 2011 through generous funding by the Leonard and Sophie Davis Fund/ML Dauray Arts Initiative to promote the work of living women artists. A publication will accompany the exhibition.
Norton Museum of Art
“Really good art is always relevant. Because it refers to possible worlds that are inextricably linked to our own. Because art gives shape to shapeless feelings and ideas, to revelations that would never have been revelations if not expressed, and to perceptions that would never have achieved that status if no shape had been found for them.” – Quotation from Marjoleine de Vos in NRC, 30 October 2016.
We have always been fascinated by illusionism as a painting technique. Even the Ancient Greeks used optical illusions. Central perspective and its perfectionistic little brother the trompe l'oeil have been used since the fifteenth century to convince the viewer that the image in front of them is real and part of the same three-dimensional space that the viewer inhabits.
In modern society, digital technology is creating an illusionary layer of information that fits in seamlessly with our perception of the real world. It has become more [...]
The exhibition “Sitting Together“ endeavours to bring together coincidences that create seemingly accidental but, from the present point of view, paradigmatic links between the parallel chronologies of the art scenes in eastern Europe. “Sitting Together“ has grown from the project Parallel Chronologies (2009-) which features a genre and chronology which plays a significant role in transforming atomized events into histories and canons, especially in the case of the art scenes in eastern Europe. In this region, self-historization by international synchronicity or local asynchronicity was an important strategy to counterpoint the limited publicity of several progressive events.
The exhibition at tranzit.sk focuses on the 1970s, the period of Normalization in which the phenomenon of parallel culture evolved as the only possible sphere for critical and autonomous thinking ostensibly detached from political action. “Sitting Together” evokes [...]
Travesía Cuatro, 13.11.2016–21.01.2017
Curated by Luiza Teixeira de Freitas and Claudia Segura
Artists: Charlie Billingham, Freddy Dewe Mathews, Fernanda Fragateiro, Luís Lázaro Matos, Alberto Lezaca, Jorge Méndez Blake, Alexandra Noel,
Mayana Redin, Gabriel Sierra, Aimée Zito Lema
My mirror looks towards the interior.
I write the words on the front and around the corners of the mouth.
My human faces are truer than the real ones.
– Paul Klee –
Aquél que camina delante is the answer to the double sequence of exhibitions that started with the show El que camina al lado in February 2016 at Travesía Cuatro Madrid. This continuation takes place at the gallery’s second space located in Guadalajara, México, and it seeks to question, atomize and propose new readings of the notion of the Doppelgänger from other possible [...]