Art

Art is the foundation of an inspiring work environment, created at each of our locations and accessible to employees, customers and art-lovers. Exhibitions, consisting of works by different artists, from different creative phases. Only one thing is equal to them: their work goes hand in hand with a development of their art, which has been carried on for years, paired with the constancy which is reflected in it. To develop and remain recognizable, just like foryouandyourcustomers.

23st exhibition: Works by Martin Huidobro

Works by Martin Huidobro

Martin Huidobro cites signs and symbols of everyday life in his colour-intensive pictures. Quite naturally, he blurs the boundaries between painting, design, sculpture and architecture and opens up a world of meanings and references. The central theme in Huidobro’s pictures, items and installations is the object with its functional, aesthetic and evocative attributes. He reduces shapes and colours to the essentials and playfully shows us the aesthetic screening of the world with tongue in cheek. Martin Huidobro (born 1972) studied philosophy and psychology in Bonn from 1992 to 1994. He spent the years between 1994 to 2001 completing his studies in visual arts at the Düsseldorf Academy of Art under Konrad Klapheck and Fritz Schwegler, whose master student he became in 2000. Martin Huidobro lives and works in Düsseldorf. (Thomas Weltner)

This exhibition can be visited until September 2018 by advance reservation calling +49 151 67411772.

22st exhibition: Works by Jürgen Paas

Works by Jürgen Paas

“Under Construction” – The latest works of Jürgen Paas suggest movement and sound, and playfully take on the spectators mind. Jürgen Paas investigates rhythmic aspects using colour, shape, composition and space in the tradition of non-objective abstraction. His works refer to both Constructivism and Pop Art. Included in this presentation is his mounted work “Target”, which seems to have become unfolded, and now ensembles projection film. (Hester Jenkins)

This exhibition can be visited until June 2018 after prior appointment by phone at +31 20 370 94 14.

Works by Barbara Höller

21st exhibition: Works by Barbara Höller

… Ultimately it always comes down to painting. It’s about the big questions that, in her previous oeuvre, Barbara Höller has tackled in an almost conceptual way. It was about colour in its shades and material structures, about form and the applicability of formulas, about seriality and variation, about object-ness and reduction to the auratic, about flatness and depth, linearity and plasticity. And there was always one small snag in these rigorous considerations. Whether it was the in-built error or a humorous wink, even as hedge against the painter’s own perfectionism. But now it’s about space. The coordinates locate the room of a distant chat partner, the edges of the room are taken from the screen and appear now as lines on the picture surface, dividing it into polygonal areas. The delineation of the diptych “double access 2” is conceived in such a way that the two panels can be arranged in diverse ways with one of the lines continuing onto the opposite image. A line that originally defined the boundary of the room can potentially be continued infinitely over the surface. But this is a secondary thought, because ultimately, for Barbara Höller, it all comes down to painting. (Daniela Gregori)

This exhibition can be visited until April 2018 in our office in Düsseldorf after prior registration.

Visit our exhibition Fotoskulptur in Vienna

20th exhibition: Fotoskulptur, Lorenz Estermann, Hans Glaser, Ilse Haider, Herbert Hofer, Sacha Manówicz, Gertraud Presenhuber

The definitions of sculpture and photography, today artistic media of equal status, could hardly be more different. Sculptures are solid, space-commanding objects with a history dating back to the beginnings of art itself, which exhibit a definite materiality with correspondingly specific weight, and require craft skill and time to produce. Photographs, by contrast, have only been around since the 1830s; they project everything three-dimensional – seldom at life size – onto a flat surface and are virtually weightless, “written with light”. Responsibility for production is handed over to a technical device and initially only takes a fraction of a second (when releasing the shutter).

The ostensible differences between these two media are, however, matched by the many points of contact, going far beyond the one-sided notion that “photography illustrates sculpture”. Sali Ölhafen has brought together six artists who use the particular characteristics of photography, such as light and shade, positive and negative, temporality, flatness and double exposure in varied ways to reflect on the relationship between these two media and to look at the artist’s own medium from the other’s perspective. (Ruth Horak)

This exhibition can be visited until April 2018 in our office in Vienna after prior registration.

Works by Clea & Cäsar Bitzer

19th exhibition: Works by Clea & Cäsar Bitzer

The papercuts, acrylic paintings and objects by Clea Bitzer have a strong presence. They let contrasts of light and dark and individual clean colours do the talking. Geometrical structures both divert and gather the view. Movement and stillness are one and the same. Clea Bitzer has arrived at an art beyond subjective emotionality. The viewer is moved by the patient precision of her engagement with geometry. By its combination of hardness and delicacy. What do the pictures say? Nothing. Only: “I am beautiful. Do you see?”. Cäsar Bitzer playfully processes found material into delightful objects and assemblages. Two image series provide a glimpse into his neo-Dada laboratory. Refined cuts enable conventional envelopes to reveal their inner life, now turned partly to the outside world, as fantastic architectures. And cover pages of programmes from the Kunsthaus Zürich gallery have been wittily and subtly augmented with found objects. Chance always offers assistance. What does it all mean? Nothing. Only: “Have fun! Join in the game!”. (Gerhard Piniel)

This exhibition can be visited until February 2018 in our office in Feldkirch after prior registration.

A house, a man, a ship by Adrian Künzi: To be seen in Zurich.

18th exhibition: A house, a man, a ship by Adrian Künzi

A house, a man, a ship. Adrian Künzi (*1956, Stein am Rhein) is interested in elementary situations. A beef bone, a zip, a machine part. He uses wood to reduce objects into a more precise and simple form. His tool of choice is a chainsaw. This prevents him getting bogged down in details, enabling him to constantly reduce everything to the essential. His sculptures, objects and woodcuts witness to a long experience of working in wood with spirit and precision. The ladder, the stele, the jar – Adrian Künzi creates on a human scale. (Brigit Meier)

We’re delighted that the famous Swiss artist  Adrian Künzi has agreed to exhibit with us again. The “freelance designer”, as Adrian Künzi likes to describe himself , is presenting a wide spectrum of his delicate chainsaw art.

This exhibition can be visited until February 2018 in our office in Zurich after prior registration.

Birgit Zinner

17th exhibition: Saw-cut wall objects by Birgit Zinner

Since 1986, the Viennese artist Birgit Zinner has been creating a diverse cosmos from picture objects. She layers wooden panels, shaped with a jigsaw and painted on all sides, into airy structures that – defying framing – make it possible to experience space. By incorporating left-over materials from earlier works, fixings and many different methods of joining, the individual artworks collectively form a larger, networked whole. Line meets plane, breadth meets focus and change meets continuity. In Birgit Zinner’s process, a conceptual approach is combined with spontaneous work with the jigsaw. This leaves scratches and tear-out marks as welcome traces that keep the process alive. (Carola Conradt)

This exhibition can be visited until October 2017 in our office in Munich after prior registration.

Peter Kuyper

16th exhibition: “Harmonic Aspects” by Peter Kuyper

Peter Kuyper was born in 1942 in Utrecht and from 1954 grew up in Switzerland. As a child he was already fascinated by the de Stijl movement, which aimed to depart completely from the representational basis of traditional art and develop a new, completely abstract formal language, based on varying a few elementary principles of pictorial design. In addition to an architecture degree, in his early years the artist attended drawing courses at the École des Beaux Arts in Lausanne. After dropping out of his course, he spent time studying modern jazz and the works of Johannes Itten, Josef Albers and Richard Paul Lohse. This led him to the artistic movement known as concrete art. His later work as an architect in prestigious Zurich offices, for example that of Prof. Walter Custer, ultimately confirmed his affinity and love for design and colour.

For him, painting is a means of realising design ideas optically. Before the work is implemented in material, it exists in full in his consciousness in its conformity with physical laws. The work of Peter Kuyper is a systematic expression of harmonic mass and of laws that structure the design systems and are brought to life with artistic means.

This exhibition has already ended.

Jürgen Paas

15th exhibition: Selection of work by Jürgen Paas

In his art, Jürgen Paas investigates the function of painting, memory and complexity. He always works in a quite specific way on the basis of the object of the picture that he – almost as if in a museum – examines, stores, catalogues, archives and presents, always in relation to the available rooms. In his work, the artist distances himself from the singular picture, preferring to work in series, agglomerations, ensembles, installations, or referencing this diversity in the openness of the individual picture composition. (Dr. Gabriele Uelsberg)

This exhibition has already ended.

14th exhibition: Works by Norio Kajiura, Shinya Sakurai and Toshiro Yamaguchi

Works by Norio Kajiura, Shinya Sakurai and Toshiro Yamaguchi

At first glance, the works of the artists Norio Kajiura, Shinya Sakurai and Toshiro Yamaguchi, all from Japan but living in the western cities of Vienna, Turin and Madrid, could hardly be more different: on the one hand, the monochrome white, grey and black works by graphic specialist and adoptive Viennese Kajiura; on the other, the two “Latin” painters Sakurai and Yamaguchi, whose work is characterised by powerful, unbroken colour and impasto textures.

In the current exhibition, these contrasts are contrapuntally juxtaposed as paintings, wall objects and installations, forming a complex, multi-sense composition that combines far-Eastern traditions from Zen to Gutai with those of the Western avant-garde in an unmistakeable synthesis of contemporary art. (Maria Christine Holter)

This exhibition has already ended.

Works by Franz Türtscher

13th exhibition: Works by Franz Türtscher

Originally from the Austrian state of Vorarlberg but now living in Vienna, the artist Franz Türtscher creates work based on the two essential orientations in a coordinate system: vertical and horizontal. His works, both paintings and objects, vary within this system – following either the prescribed grid or disrupting it in order to define themselves in a completely new way. The points of reference are the horizontal line of the horizon and vertical orientation of gravity.

Despite their strict, systematic arrangement, Franz Türtscher’s works imply a playful, processual movement. Geometrical elements are varied like modules in a building-block system on the picture surface. Türtscher understands the spaces thus produced, with their communicating elements, in the sense of an expansive form of painting that often also refers to the exhibition site. The artist’s intention is to create abstract design principles – of rhythm and colour harmony. (Kirsten Helfrich)

This exhibition has already ended.

Works by Franco Kappl

12th exhibition: Works by Franco Kappl

The special thing about these pictures is that, in addition to the developments in painting of recent decades, they contain intensive traces of the artist’s closeness to other contemporary cultures. The concise graphical components, such as the expressive rhythms that point to Kappl’s alertness to music and everyday visual occurrences, are also part of this. The special density is a result of a carefully created balance between gestural, improvisatory painting techniques and the reflective working processes with which the initial dynamic is translated through alterations, layerings and additions into a total picture that ultimately displays all traces of its own history of creation.

In a new series, Franco Kappl adds the principle of montage to his methodology: two works in the same format, but with contrasting content, are retrospectively connected with each other and revised. Like a jarring two-note chord, the double pictures derive their tension from the contradiction between the impulse to harmonise and a dissonance kept consciously open. (Martin Fritz)

This exhibition has already ended.

“at the moment” by Sali Ölhafen and Gerhard Himmer

11th exhibition: “at the moment” by Sali Ölhafen and Gerhard Himmer

In her painting process, Sali Ölhafen develops an abstract motif, a “form”, as she calls it, and uses variations of it in the picture or even sets it free as a hovering element in the room. In the context of the image, she delivers this motif, at the same time declared to be a sign, allowing freedom for chance to shape the work – whether through being “informally” under- and over-painted or put onto the picture surface, where only the upper layer of the grid-like relief structure takes up the paint.

Gerhard Himmer works fluidly with the most transparent oil glazes possible, always in a tonality that uses the picture surface as a spatial layer that can be visually intuited. The role of chance in the way the paint runs down the image creates vertical structures that end where the pigment runs out. The colour space that has already – consciously – been placed stratifies underneath and behind this without a definable ending.

In both cases, systematic structures and moments of chance come into contact each other. The artistic decision about the time or place that is definitive “at the moment” also marks the status of the – also momentary – viewing of the painting. Text: Lucas Gehrmann, curator of the Kunsthalle Wien.

This exhibition has already ended.

Joint exhibition by Sali Ölhafen and Gerhard Himmer

10th Exhibition: “Momentarily” by Sali Ölhafen and Gerhard Himmer

Joint exhibition by Sali Ölhafen and Gerhard Himmer.
At the moment, during a painting process that allows for randomness, structures, forms, far-haired dreams are created that can challenge the work as well as the finalizing of the picture. The current image state is therefore always at the tipping point between volatility and stability. The exhibition “momentarily” with works by Sali Ölhafen and Gerhard Himmer presents two artistic ways, in which the current is found in different ways. (Lucas Gehrmann)

This exhibition has already ended.

9th exhibition: “see further”, paintings and sculptures in wood

Sali Ölhafen

The starting point for Sali Ölhafen’s painting is generally a central, abstract form. This is formed with flowing paint as a synthesis of chaos and order.

An additional grid level reinforces the order, but permits gaps to give space to a third level: emptiness, space: to let things happen and let what has happened remain. The artist exhibits in Austria, Switzerland, Italy and Japan. www.salioelhafen.com. “Drawing with a chainsaw” seems to be one of the central themes of the work by the Zurich artist Adrian Künzi, permeating the individual phases of his oeuvre. He combines subtle power and sensibility. Recent years have seen create expressive, delicate sculptures in a dialogue with the wood and the chainsaw. Adrian Künzi works as a freelance designer and lecturer at the Berufsmaturitätsschule (vocational design school) in Zurich. www.adriankuenzi.ch. (Rebecca Gericke)

This exhibition has already ended.

8th exhibition: “ghetto 2013”, Tineke Storteboom

Tineke Storteboom

The Dutch artist Tineke Storteboom graduated in painting from the Gerrit Rietveld Academy in Amsterdam in 1992. Numerous galleries have exhibited her work since then, among them Hof und Huyser, Suzanne Biederberg and Raw Gallery in London.

Pieces are also owned by several private and company collections, including Rabobank and the Dutch Ministry of the Interior. Besides painting, Storteboom spends a lot of time writing, her second passion. Recurring themes in Tineke Storteboom’s work include: mythology and consciousness, contradictions and the unity underlying duality. From 1992 until today, she has produced series’ entitled “Mysterium Coniunctionis”, “Fourteen Stations”, “Labyrinth” (inspired by the labyrinth in Chartres Cathedral), “Bulls”, “Hurricanes”, “Ulysses” and “Inner Landscapes”. (Gary Schwartz)

This exhibition has already ended.

7th exhibition: “Cubic Images” by Christian Stock

Christian Stock has shown remarkable consistency in his production of monochrome paintings since the 1980s.

Christian Stock

Expanding the image space – from the illusionary to real space – and a strictly reduced repertoire of tools are particularly important elements in his oeuvre. Canvas, paint and brushes have accompanied him from his early structural experiments onward, and they have since been used to produce groups of works like Cubic Images, X, O or Delete Paintings.
The current exhibition focuses on Stock’s Cubic Images. However much one would like to describe them as objects, they remain monochrome paintings, applied carefully, layer for layer, up to 3,000 times onto small-format, square canvases in a process lasting several years. Here, Christian Stock uses the basic colours red, yellow and blue, as well as the shades white and black. The paint contracts during the drying process. The artist has no control over this process. It is precisely in this fine balance between controlling the painting process and giving space for the works to develop their own dynamism that Stock, in painstaking repetition, almost in the style of mantra and with uncanny resemblance to the 3D printing process, creates his cubic layers of paint, whose four sides immediately call to mind a cross-section of geological strata. (Cornelia Offergeld)

This exhibition has already ended.

6th exhibition: An active appraisal of Barbara Höller’s art

Barbara Höller

Barbara Höller has explored the mutability of art for years. A number of series by the artist focus on the variability of her own work. Her current linear pieces are characterised by their openness to different forms of presentation. The colours and motifs of her works can be restructured simply by altering their sequence. This opportunity for continuous change in colour gradients and hence the overall appearance of the work is, at the same time, an invitation by the artist to engage actively with her oeuvre.
Barbara Höller’s artworks are largely based around geometric forms like squares, circles or lines, which she describes as the basic building blocks of life. (Hartwig Knack)

This exhibition has already ended.

5th exhibition: Kurt Rohrbacher in Vienna

Kurt Rohrbacher

Rohrbacher’s oeuvre is symptomatic of the barnstorming comeback that painting enjoyed, defining large parts of the 1980s, and that was characterised by a self-evident blend of stylistic pluralism, figuration and abstraction. The content and formal mannerism of the work are defined by expressive imagery that incorporates poetic and archaic aspects of reality, themes which dominate the art of Kurt Rohrbacher as well. What sets the artist apart from his colleagues, then and now, and what can be considered his trademark, is the use of encaustic painting, a technique in which colour pigments, suspended in hot wax, are applied directly to the painted surface. The technique that Rohrbacher experimented with and developed in his painting has a longer tradition than the use of oil paints. Its golden age was in the Greco-Roman period of antiquity, and it is now used very rarely in contemporary art. The fascinating aspect for Kurt Rohrbacher – and doubtless for viewers of his art as well – is that the embodied thoughts of the artist are scorched indelibly by fire into the painted surface. (Maria Christine Holter)

This exhibition has already ended.

4th exhibition: Works by Akelei Sell

Akelei Sell

“red square” – the title of a piece by Akelei Sell inevitably conjures up images of the famous painting “The Red Square” by Kasimir Malewitsch in 1915. A red square is indeed contained in Sell’s piece from her series “Diaphanous picture objects”, produced between 2007 and 2012. Of course, though, the subtle – though big – difference is that around 100 years after the emergence of Suprematism, it can no longer be a question of “experiencing unadulterated abstractness” (Werner Haftmann), although a redefinition of “pure sensation in fine arts” (Malewitsch) is certainly possible.
Akelei Sell has been working on this “sensation” for 30 years by allowing extremely delicate, two to three-layer colours and shapes to correlate within an overall context that is stripped down to a emblematic/gestural and scriptural level. Her work blends photo-“realistic” perspectives of substantiveness with their own “abstractions”, which – in keeping with Malewitsch – become essential due to their sensation – “as they are, as such, released entirely from the environment in which they were formed”. (Lukas Gehrmann)

This exhibition has already ended.

3rd exhibition: Norio Kajiura’s wooden sculptures, graphite pictures and prints

Norio Kajiura

Kajiura’s main point of orientation is the Japanese term MA. MA is used in everyday Japanese vernacular to speak of a “thing”, without specifying what it is exactly. Instead, the thing is placed in a verbal relationship with its environment and its correlation to material or temporal situations.
“It means that our thoughts do not define the characteristics of an object until we have determined the relationship with its environment.« Norio Kajiura
In Kajiura’s philosophy, space and housing, the main themes of his wooden sculptures, graphite pictures and prints, are typical phenomena that are best described by MA – as they only function in an immediate relation to their contextuality, in the interdependency between ‘within’ and ‘without’, through the life that unfolds and time spent inside them. (Maria Christine Holter)

This exhibition has already ended.

2nd exhibition: “Staging Coincidence” by Sali Ölhafen

Sali Ölhafen

Born in Innsbruck, educated in Vienna and a resident of Pfäffikon ZH and Vienna since 2006, Sali Ölhafen has spent 25 years focused on one theme that she has developed and refined in countless versions and groups of works. The incipient point of her painting is a central, abstract motif, positioned on a surface and over or underlaid with various layers. They anchor the gossamer threads of paint rivulets in an idiosyncratic system that lends stability. Sali Ölhafen uses bubble wrap as the medium for her most recent works, thus largely dematerialising the protective substrate. On the one hand, this provides a fixed grid, while on the other expanding the image space infinitely due to the transparency of the underlying material. The application of paint on both sides of the smooth, i.e. burled, surface creates intricately subtle effects. (Vitus H. Weh)

This exhibition has already ended.

1st exhibition: Joint CWBSP exhibition

An artistic liner of a wine box

CWBSP is the acronym for ‘cardboard wine box spacer pieces’. They are really quite unprepossessing bits of cardboard. Made to measure, they have indents, round holes and folded ends. They fill the space between the wine bottle and the box, remaining almost entirely unnoticed. But their function is important. They create a space between the bottles to make sure they remain undamaged during transport. Figuratively speaking, culture can be viewed as a similar ‘in-betweener’, perhaps even as the art of being human. This intermediate layer is what surrounds the wine. If one follows these thoughts, it is hardly surprising that Robert Josef Stadler decided to kiss these Sleeping Beauties awake. CWBSPs became his constant companions. He created a Facebook page for them and eventually (most likely over a glass of wine) came up with the idea of asking his artist friends to turn them into something special. The theme was clear and open. Make something out of them! Nine artists followed his call. (Astrid Graf-Noha)

This exhibition has already ended.