Hans Karl Zeisel
Hundred and more

Contemplating Nature in a Reduced-Mobility Environment

“The events of the year 2021, which was defined by lockdowns, the pandemic, and restrictions, has brought out the resonance in my pictures of Gustave Courbet’s realism,” Alexander Ruthner (b. Vienna, 1982; lives and works in Vienna) says about his most recent works: oil paintings featuring lush green vegetation and veritable down comforters painted all-over in saturated color gradients. The works will make their public début as the publication is released in the summer of 2021, hence the word “Sommer” in the title. The other word, “Cour,” is a nod to the first syllable of the French painter’s name as well as French for “court,” a term the artist creatively reinterprets as a synonym for the solitary “castle of the mind” to which we have retreated under pandemic conditions. Ruthner, who studied with Peter Kogler, Daniel Richter, and Albert Oehlen, revisits the boscage and pasture painting of past eras in new works that propose a distinctive personal interpretation of that tradition’s charm.

Alexander Ruthner’s work has been shown at Kunsthalle Wien, the Whitechapel Gallery, London, and the National Museum of Montenegro, among other venues.

Sevina Tzanou’s (b. Athens, 1994; lives and works in Bonn and Athens) large-format paintings show ecstatic bodies on the verge of abstraction that refuse to submit to categorization, cooptation, or control. They arise from the affect-laden situations the artist sets out to render in her paintings. She begins by priming the canvas with a monochrome coat of paint, on which she then sets down informal, expressive gestures, sometimes working with a mop or so-called “octopus brushes” that recall BDSM whips. The bodies depicted in the works are Tzanou’s painterly response to the abstract forms accreted on the canvas. Everything about her art is performative, the painterly process no less than the creation of bodies, gender, and sexual identity. Her subjects are drawn from ancient myths and motifs in the history of painting as well as contemporary debates.

The artist Chunqing Huang’s (b. Heze, China, 1974) Painters’ Portraits are anything but conventional likenesses. The portraits of artists including Louise Bourgeois, Anselm Kiefer, Martin Kippenberger and Imi Knoebel are acts of gestural-expressive abstraction and probing visual studies of the artist’s own recollections. Chunqing Huang paints meditations on art itself, systematically working through the vocabulary of abstract painting from Germany to the United States. The series Painter’s Portrait II features Chunqing Huang’s thirty most recent works from a series the artist has been transferring to canvases measuring 40 x 30 cm since 2016.

Painter’s Portrait II represents Chunqing Huang’s personal reflections on her influences, from Impressionism to expressive tendencies in abstract painting, which now make its début in book form. The catalogue showcases the portraits, each of which is distinguished by its own gestural quality and individual palette.

Chunqing Huang studied painting and interdisciplinary art at the Städelschule, Frankfurt am Main, where Wolfgang Tillmans and Peter Angermann were her teachers, and graduated from Hermann Nitsch’s master class. The German-Chinese artist’s work has been featured in numerous solo and group exhibitions. A first selection from the Painter’s Portrait series was on view at Kunsthalle Wiesbaden and Museum Wiesbaden in the summer of 2021; the catalogue Painter’s Portrait II is released in conjunction with her exhibition of the same title at 68projects, Berlin.

Ein Spiel mit den Ambivalenzen

Offenkundig Mythologisches gerät bei Gerhard Neumaier (geb. 1950 in Freiburg, lebt und arbeitet in Baden-Baden) ebenso zur trivialen Episode, wie scheinbar Triviales legendäre Ikonik entfaltet. Dabei bricht sein unvoreingenommener Umgang mit Klassikern wie etwa in der Duchamp-Persiflage „Hokuspokus mit Fokus Lokus“ semantische Vorurteile in den Sehgewohnheiten auf und bietet dem Betrachter neuartige Interpretationen. In der perfomativen Bewegtheit seiner Rakelbilder legt er eine haptische Sinnlichkeit an den Tag, die Cora von Pape in ihrer Einleitung dazu bringt, den Künstler zu zitieren: „Ich male, was ich weiß, damit ich sehe, was ich fühle.“