heat of the moment
Felix Dennhardt and Clemens Tschurtschenthaler
​​03/07/2021 - 05/21/2021
With their joint exhibition heat of the moment, Felix Dennhardt and Clemens Tschurtschenthaler explore the scope and depth of the quake, of a charged moment in which energy condenses immediately before an event.
​
From the standpoint of an objective observer, the two artists translate the moment into an objecthood that, from its origin, precedes thought in its being. Through partly performative acts, objects are created that remain as altered fragments of such a moment, describing our ongoing connection with these very moments.
Similar to Timothy Morton's Hyperobjects, Clemens Tschurtschenthaler's artistic works condense the appearance of the energetic moment through simultaneously readable traces created at different points in time. They make it clear that the mere moment cannot be captured in its original manifestation in the present. Its complexity only emerges in an object-like quality in a final product that has been shaped and changed by the energy of the moment.
In a certain way, we are constantly in touch with moments of this kind. Whether it is that we dwell on such a moment in our memories or that we conjure up such a moment in the present through our behaviour. Felix Dennhardt describes this state in an absurd extension of the stovepipe, which winds in a seemingly endless loop between the heat of the stove and the flue of the fireplace. At the same time, the 80s song 'In the heat of the moment' by the band Asia, mixed with the crackling of a fire, resounds through the pipe condensed as a sound body. Through this auditory element, which sets the underlying starting point of the works of both artists, the works connect with each other and illuminate the heat of the moment in its temporal and spatial effect and expansion.
​
Curated by Manuela Hillmann and Philipp Pess
EXHIBITIONS AND FAIRS
(I) like your curvy waves
Judith Adelmann
​​7/10/22 - 10/9/22
Hydroknowledge
​
I’m here in this watery field of uncertainty,
Embracing the unknown future of my feminist self.
Immersing in velvety blue, flowing through me,
Allowing me to navigate through the shallow depth of hydroknowledge.
I’m a vessel of water, a vessel of memory, a vessel of perceptions.
I’m sliding through knowledgeable waters,
Information pouring out of me,
Becoming part of the stream that nourishes us, connects us, makes us become one
body, limited yet permeable.
The healing embrace of fluidity.
(This short poem is a response to the ‘Hydrofeminism: Or, On Becoming a Body of
Water’ by Astrida Neimanis, written by Anne Pfautsch)
​
Das Detroiter Techno-Duo Drexciya schuf ab den 1990er Jahren in zahlreichen Alben einen komplexen auditiven Mythos eines imaginären Unterwasservolks. Bezugnehmend auf unterschiedliche Narrative eröffnet die installative Zusammenführung der einzelnen im Raum angeordneten Elemente der Ausstellung (I) like your curvy waves von Judith Adelmann, einen fantastischen Raum erdachter Wasserwelten und anderer Lebensformen. Das immer noch weitestgehend unerforschte, vom Menschen nur bedingt zugängliche Terrain führte im Laufe der Menschheitsgeschichte zu zahlreichen Legenden um Wasserwelten und ihrer Bewohner:innen, und verbindet über die Kontinente hinweg verschiedene Kulturkreise.
​
Zeitgenössische feministische Theorien, wie die des Hydrofeminismus1, heben die metaphorischen und
verbindenden Eigenschaften des Elements Wasser hervor. Besteht der menschliche Körper zu 60 – 90 Prozent aus Wasser, sind lebende Körper evolutionär betrachtet demnach die Grundlage für die Verbreitung von ‚Hypersea‘, die entstanden ist, als das Leben aus dem Meer zog und „einen wässrigen Lebensraum ‚zurück in sich selbst‘ gebildet hat“2.
​
Hypersea als Umformung des traditionellen Organismus-Begriffs, umfasst dabei nicht nur die terrestrische Flora und Fauna, sondern auch technologische, geophysikalische und meteorologische Gewässer. Wasser ist hierbei das verbindende Element, das über das einzelne Individuum hinaus, die Relation zu einem Kollektiv entstehen lässt. Wasser ist trotz ständiger Bewegung planetarisches Archiv von Bedeutung und Materie, es speichert und beinhaltet Information. Explizite Flüssigkeiten unserer Körper, wie Fruchtwasser, Blut, Galle, intrazelluläre Flüssigkeit; ein kleiner verschluckter Ozean, ein wildes Feuchtgebiet, Rinnsale, die sich ihren Weg von innen nach außen bahnen.3
​
Der durch die Installation geschaffene Raum, lässt durch die Anordnung der Elemente eine fließende Bewegung entstehen, aus der heraus der Blick aus verschiedenen Perspektiven auf die einzelnen Keramiken gelenkt wird. Das Material Ton, selbst ursprünglich zu einem großen Teil aus Wasser bestehend, wird durch den Brand in feste Materie verwandelt. Erst durch die Bewegung der Besucher:innen durch den Ausstellungsraum wird dieser zu einem lebendigen Habitat.
Das Element Wasser dient als sinnesbezogene Metapher einer großen Unbekannten und deren Anerkennung.
​
Mit der Einzelausstellung (I) like your curvy waves der Künstlerin Judith Adelmann, eröffnet das 2018 in Wien gegründete Off-Space VENT gallery, nach einjähriger Pause seinen neuen Ausstellungsraum in Hohenbrunn bei München.
​
Kuratiert von Manuela Hillmann
​
1 Neimanis, Astrida: ‘Hydrofeminism: Or, On Becoming a Body of Water’, in ’Undutiful Daughters: Mobilizing Future Concepts, Bodies and Subjectivities in Feminist Thought and Practice’, eds. Henriette Gunkel, Chry-santhi Nigianni and Fanny Söderbäck. New York: Palgrave Macmillan, 2012
2 Neimanis, Astrida,, p. 97
3 Neimanis, Astrida: Bodies of Water, Posthuman Feminist Phenomenology, London, New York 2017, p. 1​
(I) like your curvy waves Judith Adelmann Exhibition view Courtesy the artist and VENT gallery, Munich / Vienna Photo: Thomas Splett
(I) like your curvy waves Judith Adelmann Stab, 2022 Keramik, Glasur, Lüster 39 x 2 x 2 cm Courtesy the artist and VENT gallery, Munich / Vienna Photo: Thomas Splett
ARS ELECTRONICA 2020
Festival for Art, Technology and Society
&
online exhibition VENT gallery
​Rebecca Merlic
TheCityAsAHouse
​
​9/9/2020 - 13/9/2020
&
14/9/2020 - 20/1/2021
Vast amounts of pictures, sounds, videos and 3d-scans are organized as environments in Rebecca Merlic’s The City as a House, in form of an interactive visual novel. A work about the experiment of a white European 30-year-old heterosexual human while not inhabiting a private apartment in Tokyo over a period of time. A speculative exploration of the possibilities of abolishing known forms of habitation. In 1903 Hermann Muthesius said: „Japan is in many respects the country that comes closest to one’s dream of paradise.“ The current situation in Tokyo allows for the emergence of a turbo-dense, capitalism-driven space generator for satisfying one’s personal longings and needs. Is a new form of nomad living not only being constructed in digital and virtual space, but also in concrete space? Shifting privacy in non-domestic spaces can lead to different architectural consequences. The City as a House depicts an illusion of private ownership of a place, we call home and transfers it into the cityscape where the human occupies a certain amount of space while moving or resting depending on time and need. What does it mean to be freed from the urge of craving a nest? A strategy of successfully surviving without being bounded. It is a proposition of a new form of society. The next self- improvement of humanity or going back to our roots. A visual novel build with a Game Engine to open up digital space for the human user to relive the experience ones created and open up new spaces.
​
Curated by Manuela Hillmann & Philipp Pess
a talk about feminism and experiencing the abolished private
​
Artist Talk about the feminist aspects of The City as a House, an interactive visual novel, an experiment of a white European 30-year-old heterosexual human, living in Tokyo without inhabiting a private apartment over a period of time.
​
PARALLEL VIENNA 2020
​
VENT gallery vs WAF gallery
AETHER
by
Lisa Jäger and Philipp Pess
​​​
9/22/2020 - 9/27/2020
Sira-Zoé Schmid
"zu spät gekommen"
​
07/11/20 - 08/13/20
"[Humans] are just an algorithm designed to survive at all costs, sophisticated enough to think they're calling the shots, to think they're in control, but they're really just... - Passengers." (Westworld, 2016)
The artificial scenery of the futuristic entertainment park Westworld creates a dream-like experience for human visitors who log themselves in as temporary passengers.
One is situated remote from world affairs as well as from ones ordinary sense for time and space and is deteriorated into a transcendental state of mind. The lawlessness and invulnerability of the visitors enables the ability to live out one’s fantasies. The freedom to act grants the impression of being conscious of one’s actions. It eventually turns out to be an unmasking of a person as well as a journey inwards, irrespective of one’s awareness in retrospect. An inner world embodied within an artificial outside world. The metaphor contains a concise analogy to that of dystopian atmospheres and strange diffuse elements often embedded within dreams.
Based on the quote from the series Westworld, the artist Sira-Zoé Schmid has chosen bizarre passages from her 2010 dream diary and utilised these as a fundamental atmospheric element in order to translate them into a scene-like media installation. With the usage of looped fragments of a party scene combined with planar, transparent objects, the artist enables the „passenger“ an intimate insight into her dreamt fantasies.
​
Curated by
Manuela Hillmann & Philipp Pess
Neringa VasiliauskaitÄ—
synthetic pleasure
​
11/14/19 - 12/20/19
The works of Neringa VasiliauskaitÄ— blend theories of biology and technology. Amongst other things, she concerns herself with the manufacturing processes and properties of materials, such as latex and neoprene and sets these in comparison to the constitution and biological „production“ of the human skin. Much like a snake’s constant and continuous transformation, the artist complements her studies with various topics such as the societally imposed „control of the body“ in the age of digitalisation, as well as the constraints of self-optimisation. Techniques such as biohacking or robotisation are subjects of the loss of humanity. To the artist however, these techniques implement the possibility of liberating the human from its biological immediacy, which she does not consider to be harmful. Within these ideas, she assimilates leitmotivs of psychoanalysis and philosophy, with which her work deals with theories such as Skin Ego by Didier Anzieu, Xenofiminism by Helen Hester and Labora Cuboniks, as well as Touch and Light by Luce Irigaray.
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Curated by Manuela Hillmann & Philipp Pess
NEVERMORE
​
Christiane Peschek
Philipp Pess
Michaela Putz
​
PARALLEL VIENNA 2019
09/24/19 - 09/29/19
Digitalization and virtualization have given rise to a new development of spiritualism: many artists are exploring into fields of so-called ‘technoshamanism’ and the spiritual potential of digital technologies as well as the constant talk about the immortality of a digitalized consciousness.For Parallel Vienna 2019, Christiane Peschek, Philipp Pess and Michaela Putz are simulating a place of self-sacralization in form of an installation, consisting of photographic and sculptural elements. The works ensphere around the concepts of de-emotionalization and disembodiment, increasing virtualization and the dominance of digital surfaces.Using symbols and artifacts known from religious contexts, the exhibition questions their obsoleteness - and translates them into the context of an art fair.
curated by
Manuela Hillmann
&
Philipp Pess
SYNC
Marlene Mautner & Ivo Rick
​
Opening 05/23/19 II 7 pm
05/24/19 - 07/06/19
VENT gallery opens its second edition at a new venue.
SYNC displays works of Marlene Mautner and Ivo Rick.
The exhibition highlights artificial visions on cogitable futuristic forecasts, dealing with scientific use of knowledge and technique.
Ivo Ricks artwork begins – at an intersection – defying the obvious.
Many of his works are reminiscent of appliances that are meant to fulfil a purpose or a function. They exist in neutral to cream-colored white tones and are made of different assembly parts produced in series. They seem precise; their shape is modest; they look like design objects, appropriable art.
They simulate a function which makes perceiving them a balancing act and so their function is at first superfluous.
I have no interest in using these things. Their non-function is clear, not least because of them being in an art space. Nevertheless, I spiritually simulate a function triggered by its shape. I seek an analogy of the known –shape with the consequence of function.
Ultimately, my interest lies not in the simulation of use (which I am denied), but the shape itself, on account of it being reminiscent of functionality and therefore evoking familiarity, whilst at the same time denying it. The familiar has disposed of being banal, defying time and effort, i.e. use. Although these works are seemingly neutral and "cool", this idea is highly romantic, because it conjures up ideas of mystic absolutism – meaning without function.
All function entails usage, wear and tear and the ultimate destruction thereof. The unspecific, non-functional object is therefore spared; it does not become an arena and maintains its perfection. (Jochen Meister)
​Marlene Mautner defines alternative approaches of dealing with natural science through various methods of observation.
She depicts clever staged sceneries, by combining various objects from different areas of ​​expertise, hereby assembling natural science and photography.
In her scientific artwork Mautner is questioning the constructions of reality; is it shaped by science or by language? One of her works explores mathematics by asking the question whether it is something we discovered or rather constructed in our brains.
Her photographic works are focused on translating visual language, by creating, transforming and integrating a new imagery of structure, geometry and colours.
We are happy, to reopen VENT gallery at Lange Gasse 2
in the 8th district of Vienna, cordially invited by
HASSMANN & liebfrau.
curated by
Manuela Hillmann
&
Philipp Pess
HEATWAVE
Luc Palmer & Christiane Peschek
​
Opening 11/6/18 II 7 pm
11/7/18 - 12/8/18
With HEATWAVE the first cooperation of Luc Palmer and Christiane Peschek, the two artists generated an installation dealing with the interface of painting and photography.
By creating a tension between construction and deconstruction, working with an aesthetic of destruction, the exhibition shows an emotional compound of picturesque and photographic surface altered by heat.
The pursuit of aesthetic perfection has already been a central point back in the days of Greek philosophy and is rediscovered in a virtualised appearance in a post internet society. Through digital and manual manipulating of the works surfaces this striving begins to struggle.
The artwork appeals with a pathologic aura, displaying wounds of abstraction, burned air, black water, porous skin; silently the ambivalent ratio of reality and (de-)construction occurs the room.
The exhibition SIRA-ZOÉ SCHMID - THE CONCURRENT PRESENCE shows the artist's latest video performance “Desert Flower” in two acts.
The first act shows the so far, two-part video performance.
We see a valley in the Mojave Desert, California. A woman—the artist—enters the frame from the right, her back facing the camera. The protagonist, wearing a black dress and holding an electric-blue parasol, looks almost surreal in this barren landscape.
The protagonist walks calmly but determinedly on a straight path towards the horizon until she is no longer visible. The action of walking visualizes both ephemerality and the passing of pain and loss. At the same time, Schmid stages the walk as a meditative process—in the vastness of the landscape she reflects on the eternity of thoughts.
​With a clear and poetic visual language, Desert Flower is a universal exploration into loss and ephemerality and the various mechanisms of coping with these sensations.
(Sophie Haslinger)
The second act shows a photograph, shot by visual artist Markus Oberndorfer during the performance.
This act of reducing the strong two-part video performance to just one straight photo shot, strengthens the extensive emotion, by showing the lonely, surreal women in a black dress, hidden and protected by a shiny blue parasol, walking to the deserts expansive horizon, until its disappearance. Freezing an impalpable, very wide and open emotional state of mind, it literately breaks down Sira-Zoé Schmid's performance to its basic essence.
Sira-Zoé Schmid, born in 1985 in Vienna, lives and works in Vienna and Salzburg.
​
Curated by Manuela Hillmann & Philipp Pess
​
Sira-Zoé Schmid II THE CONCURRENT PRESENCE
Opening Part One 10/6/18 II 7pm
Opening Part Two 10/20/18 II 7pm
10/8/18 - 11/1/18
​
DESERT FLOWER
Mojave Desert 2017 - ongoing
Technique: Video Performance, Installation with two Videos, Photograph
We see a valley in the Mojave Desert, California. A woman—the artist—enters the frame from the right, her back facing the camera. The protagonist, wearing a black dress and holding an electric-blue parasol, looks almost surreal in this barren landscape.
The protagonist walks calmly but determinedly on a straight path towards the horizon until she is no longer visible. The action of walking visualizes both ephemerality and the passing of pain and loss. At the same time, Schmid stages the walk as a meditative process—in the vastness of the landscape she reflects on the eternity of thoughts.
​
With a clear and poetic visual language, Desert Flower is a universal exploration into loss and ephemerality and the various mechanisms of coping with these sensations.
​
Text by Sophie Haslinger
EMANUEL EHGARTNER
assorted measured coated
​
Opening 12/13/18 II 7pm
12/14/18 - 12/21/19
Emanuel Ehgartner is using forms of the everyday urban space in his artistic practice. Strolling through the city, he sometimes discovers objects which - for no specific reason - arouse his interest. They mostly come from an architectural, industrial or technical context and are found on abandoned construction sites or as trash beneath the street. He takes everything that is not nailed down to his studio, where he investigates these everyday objects with respect to their sculptural quality and modifies them by minimal interventions like additions and removals. Certain objects, which he cannot take to his studio, are rebuilt by himself. Through the isolation of significant constructive elements, Ehgartner abstracts these objects from the „real“ world where they originate from. So he transforms items from their functional context into only aesthetic ideas. Within this process of abstraction the use of colour is essential for Ehgartner. He gives the objects a new surface through the application of selected colours (which are also often found as “couleurs trouvés”). On the one hand, he appropriates these readymades in a subjective way, on the other hand, he supports their aesthetic quality. Due to Ehgartners subtle interventions, the link to the initial context is always maintained. His works move between two poles: Depending on the viewpoint, they can be seen as specific everyday object or as abstract minimal artwork. The idea of authenticity is absent. It is of no importance whether the things are “readymade” or built by the artist himself. The same can be said about the colours. The emancipatory potential of Ehgartner´s art lies in this conceptual equivalence. He is influenced by both, the tradition of the “avantgarde” and post-modern strategies of art production. The artist appropriates public space from which he takes his materials: rational and functional items, that always inherit the potential of an alternative use. Making these objects visible might allow a vision of another world within the existing one.
​
Text: Michael Wonnerth-Magnusson
Translation: Agnes Rameder
BJØRN Segschneider
BATMAN
​
10/06/19 - 11/01/19
Gotham River
HD 1080p PAL Stereo 3:05“ 2019
The video work Gotham River portrays the river Danube from its origin up to the river’s mouth at the Danube Canal and is edited to an adaption of the intro of Batman Returns. The scenes in the sewerage are visually adapted to a moonlight atmosphere as well as that of the penguin’s empire/habitat. At first, the editing cuts of the intro are transferred whereas during the middle part the dramatic sequence of the cuts are continued.
The theatrical setting of the sound enhances the arrangements of urban structures to a bizarre level. On the one hand are the familiar elements of the water course and sewerage, on the other hand a transformation of Vienna occurs - Gotham City.
Batman
Poster edition offset print multicolour on affiche paper DIN A1 100 copies 2019
Plakatedition Offsetdruck Vierfarb auf Affichepapier Din-A 1 100er Auflage 2019
It is a poster edition of the exhibition, done in the design of the Batman movie poster. The subject is the artist himself, disguised as Batman wearing a black Gackerl-Sackerl (bag used for dog waste).
It stands in contrast to the extremely costly gadgets of Batman and emphasises the assumption that Batman is coherently more of an attitude rather than a luxurious costume.
It is put into question to what extent the millionaire Bruce Wayne basically uses his alter ego Batman to protect a system in order to draw his wealth.
In the background, the full moon is set to 50s black and white 3D, which places the long history of Batman movies in contrast to the massive amount of gimmickry used in the latest movie adaption.
Catwomen’s Bomber
MA-1 flight blouson black, completely embroidered with white Polygarn, single piece 2019
MA-1 Flight Blouson schwarz, komplett durchgenäht mit weissem Poly-Garn, Einzelstück 2019
The object refers to the third and female superhero of the movie adaption. According to the manic manner of the heroin the black bomber jacket is embroidered with aggressive and ragged stiches. This also attributes to a simple urban and in youth culture identifying piece of clothing and brings the high-gloss aesthetics of the movie’s equipment back down to earth. The object is deliberately positioned, as if it were thrown onto the wall, which refers to the ballet-like and thoroughly choreographed love-hate relationship between the two characters.
Batman is not a superhero in a narrower sense - unlike Superman - as he does not possess any superpowers. His superiority is based on knowledge, will power, severe training, his technical devices as well as the enormous financial power of his family’s fortune. Some consider him as a saviour and hero, whereas others criticise him as a lawless avenger with questionable methods.
It has long been discussed whether Batman’s motives - the fight against crime and corruption in Gotham City - are actually as altruistic as one perceives them at first. Critics have realised that Bruce Wayne as a millionaire basically uses his alter ego to protect the system in order to protect his wealth. Batman is first and foremost not a protector of the law who is driven by justice. Instead it is his thirst for revenge which pushes him to fanatically follow his ambition, almost similar to that of a psychopath. He thereby nearly ruthlessly operates against his enemies even though acting according to his self set rules.
On top of that, the versions show how Batman’s appearance and disguise in large part create the enemies whom he then has to combat. Even his enemies hereby create their own necessary methods in order to carry out a narcissistic contest at the expenses of society. With the use of disguise in order to create something big and better for the world, each one of the characters push their visions of society, and therefore ideology, in a selfish manner. By doing so they create the means and situations in order to assert their ideas with the usage of gadgets, events, images and movements. It is a multilogue between all counterparts who appear as lone warriors, whereas each one of them wouldn’t exist by the means of this construct.
Each and every one of them insist on their indigenousness and uniqueness and are also convinced of constructing something monumental. However, in the end, it is about self-fulfilment as well as the production of egocentric visions in a parallel society. The population/society becomes the recipient/observer. Everyone claims to be achieving something epical and therefore to be needed by humanity/culture. Welcome to the art world.
curated by
Manuela Hillmann & Philipp Pess
NEVERMORE
​
Christiane Peschek
Philipp Pess
Michaela Putz
​
PARALLEL VIENNA 2019
09/24/19 - 09/29/19
Digitalization and virtualization have given rise to a new development of spiritualism: many artists are exploring into fields of so-called ‘technoshamanism’ and the spiritual potential of digital technologies as well as the constant talk about the immortality of a digitalized consciousness.For Parallel Vienna 2019, Christiane Peschek, Philipp Pess and Michaela Putz are simulating a place of self-sacralization in form of an installation, consisting of photographic and sculptural elements. The works ensphere around the concepts of de-emotionalization and disembodiment, increasing virtualization and the dominance of digital surfaces.Using symbols and artifacts known from religious contexts, the exhibition questions their obsoleteness - and translates them into the context of an art fair.
curated by
Manuela Hillmann
&
Philipp Pess
SYNC
Marlene Mautner & Ivo Rick
​
Opening 05/23/19 II 7 pm
05/24/19 - 07/06/19
VENT gallery opens its second edition at a new venue.
SYNC displays works of Marlene Mautner and Ivo Rick.
The exhibition highlights artificial visions on cogitable futuristic forecasts, dealing with scientific use of knowledge and technique.
Ivo Ricks artwork begins – at an intersection – defying the obvious.
Many of his works are reminiscent of appliances that are meant to fulfil a purpose or a function. They exist in neutral to cream-colored white tones and are made of different assembly parts produced in series. They seem precise; their shape is modest; they look like design objects, appropriable art.
They simulate a function which makes perceiving them a balancing act and so their function is at first superfluous.
I have no interest in using these things. Their non-function is clear, not least because of them being in an art space. Nevertheless, I spiritually simulate a function triggered by its shape. I seek an analogy of the known –shape with the consequence of function.
Ultimately, my interest lies not in the simulation of use (which I am denied), but the shape itself, on account of it being reminiscent of functionality and therefore evoking familiarity, whilst at the same time denying it. The familiar has disposed of being banal, defying time and effort, i.e. use. Although these works are seemingly neutral and "cool", this idea is highly romantic, because it conjures up ideas of mystic absolutism – meaning without function.
All function entails usage, wear and tear and the ultimate destruction thereof. The unspecific, non-functional object is therefore spared; it does not become an arena and maintains its perfection. (Jochen Meister)
​Marlene Mautner defines alternative approaches of dealing with natural science through various methods of observation.
She depicts clever staged sceneries, by combining various objects from different areas of ​​expertise, hereby assembling natural science and photography.
In her scientific artwork Mautner is questioning the constructions of reality; is it shaped by science or by language? One of her works explores mathematics by asking the question whether it is something we discovered or rather constructed in our brains.
Her photographic works are focused on translating visual language, by creating, transforming and integrating a new imagery of structure, geometry and colours.
We are happy, to reopen VENT gallery at Lange Gasse 2
in the 8th district of Vienna, cordially invited by
HASSMANN & liebfrau.
curated by
Manuela Hillmann
&
Philipp Pess
RÅ«tenÄ— Merk II VIRTUALACRA
9/3/18 - 10/3/18
URBANDICTIONARY.COM: Virtualacra is a disturbing intersection of the real-world and virtual aspects of one's experience; a train wreck caused by one's interpersonal and Internet lives colliding.
CHUCK NOLAND: We’ve made real fire, huh, Wilson. So, Wilson?
ART HISTORIAN: Here we grasp the roots of that very contradiction which will forever characterise images: images make a physical (a body’s) absence visible by transforming it into iconic presence. The mediality of images is thus rooted in a body analogy.
EDITOR: Julliene never seems to stress much and will spend her days in peace. After waking up very early at midnight she will spend the next six hours wandering aimlessly around the Lustratorium. At 6am she will pick up her mortar & pestle and start mixing up potions, eventually stopping at 10am. Her remaining time, until 6pm, she will spend wandering around the Alchemy center before heading back to the upper floor of the Mage Quarters and going back to bed.
FIRST PHILOSOPHER: A text lives only if it lives on, and it lives on only if it is at once translatable and untranslatable. Totally translatable, it disappears as a text, as writing, as a body of language. Totally un-translatable, even within what is believed to be one language, it dies immediately.
SECOND PHILOSOPHER: Even the Pyramid, however, will not be as interesting as the dead king within it, as he is the only subject whose dreams are truly worth interpreting.
GENERAL HEIN: Where is the PROOF?
DOCTOR AKI ROSS: Here
​
Selected exhibitions include:
(How did I get here) Painting in Lithuania, Contemporary Art Centre, Vilnius, 2012;
24 Spaces – a Cacophony, Malmö Konsthall, Sweden, 2014;
Body and Darkness, Vartai Gallery, Vilnius, 2017;
Children of the New East, Art Hall Tallinn, Estonia, 2017;
Whit Walkers, Talinas 10, Riga, 2017;
JCDecaux Prize, Contemporary Art Centre, Vilnius, 2017;
Entangled Tales, Rupert, Vilnius, 2018;
Virtualacra, AdBK München, Jahresausstellung, 2018;
Spirits Within (solo), Project Space Editorial, 2018.
​
​
Curated by Manuela Hillmann & Philipp Pess
2018 , Oil on canvas, 55 x 41
2018 , Oil on canvas, 50 x 40
BUSTER
6/18/18 - 7/5/18​
​
JJ Ramsauer
Bastian Schwind
2018, handgefertigter Bartyprint kaschiert, Beton, 50 x 34 cm, Unikat
2017, Pigmentprint, Solar Power-Bank, Luftbefeuchter, Red Cup, 153 x 113 cm
VENT
5/21/18 - 6/15/18​
​
​
Judith Adelmann
Markus Oberndorfer
Philipp Pess
Gallery Opening
VENT
5/19/18​
​
Judith Adelmann
Markus Oberndorfer
Philipp Pess
PARALLEL VIENNA 2018
Sira-Zoé Schmid
I AM YOUR ORACLE
​
A performative mediation
​
10/11/2018 II 7pm
open end
While on Artist in Residency in the US in 2017 Sira-Zoé Schmid created her latest two-part video performance “Desert Flower“. “With a clear and poetic visual language, „Desert Flower“ is a universal exploration into loss and ephemerality and the various mechanisms of coping with these sensations“ (Sophie Haslinger).
In her performative mediation at V E N T gallery, Sira-Zoé Schmid uses the oracle prospects of Patience, a mystical card game used to tell your future. Winning or losing in this fateful case means yes or no. Patience; in a not so mystical meaning is better known as the game of a million hastily concealed PC windows. Its popularity might derive from its strangely hypnotic nature, even though it takes real persistence to win.
At V E N T gallery, Schmid stages the fateful game into a mystically surrounding.
By laying the cards on illustrative questions, dealing with the context of her video performance “Desert Flower”, she reveals the basic thoughts of this art work.
​
Curated by Manuela Hillmann & Philipp Pess
