8 Voices of / and Culture Issue

Content Julia Bornefeld p.2 Clemens Wolf p.3 Adrián Villar Rochas p.4 Kim Simonsson p.5 Kunst Haus Wien p.6 Thilo Jenssen p.7 Daniel Gustav Cramer p.8 Tobias Zielony p.9 Angelika Loderer p.9 Jonathan Meese/ Tal R, Daniel Richter p.9 Anne Duk Hee Jordan p.10 How to Guide to Art Fairs p.12 Photo: © Jasmine Deporta In the Studio Julia Bornefeld, Bruneck Julia Bornefeld moves between canvas, objects and spatial installations, concreteness and abstraction, as well as between poetical introspection and concrete objectivity. Representations of death in art, sacred Christian imagery, the finiteness of life, and pagan rituals are characterizing her work. • read more on page 2 In the Studio Preview Photo: © Michael Kimmel Photo: © Michael Lori Hersberger Christoph Liebentritt Photo: © Photo: © Mario Corporali »How can I explore »I decided to exile myself

the unknown?« from space-time.« Danner Photo: © Michael

Clemens Wolf, who gained his first artistic experi- Adrián Villar Rojas builds his work upon a richly Karin Sander Berlin ences as a graffiti sprayer in the urban space has been sophisticated philosophical that he often attracted by city maps, fences, and ruins. Today, turns into intensely photogenic projects of enormous upcoming stories the professional painter is occupied with an aesthetic scale that imply pop-cultural and historic codes in our Online Journal on of decay, which he captivates in a painterly, sculp- and make reference to social, political, geographical, collectorsagenda.com tural manner and in the form of installations. cultural, and even geological ecosystems. • read more on page 3 • read more on page 4 COVERSTORY In the Studio Julia Bornefeld, Bruneck, South Tyrol COVERSTORY In the Studio Clemens Wolf, Vienna

Did your surroundings influence your as in the case of the body-related work series. appear both strange and familiar, the treated decision to study art? I slip in the sewn objects and these become a parachute clearly recognizable. But my artistic I come from a combination of teacher and second skin. I portray these skins in movement intervention into the “rescue object” initiates artist household – my grandfather was a via photographic sequences. a game with the cognitive memory, posing va- conductor, a music director, and a pianist in rious questions: What lets me recognize the and mother was also a musician. What is the relationship between ? What remains unknown to me? How My biological father is a literary man and gra- and physical objects in your work? can I explore the unknown? The phologist and as a libertarian has lived for For me painting and drawing are the most im- tell a story that can be read through the mathe- decades on ships. This environment of music mediate means of expression. Through pain- matics of gravitation and in the manner of and culture was influential. As a child I drew ting I get to self-reflection. The act of painting the parachute’s “falling”. and painted constantly and at age sixteen I over hours and days is a highly concentrated learned welding. Some of my school friends activity. As a student I constructed objects from Why did painting become your preferred studied art, architecture, and theater or pur- unfinished canvases. I disassembled the can- practice? sued other artistic careers. vases encompassed and pressed things into I acquired an enormous amount of knowledge them, tore and rended them – in this way my in studying painting. It allowed me to experi- plastic works gradually began to develop. ment a lot and to discover the canvas as my new “Painting • read the full story on bit.ly/_JuliaBornefeld “playground”. All the experiences that I gained does not lie!” in the medium of graffiti and in dealing with the public space that I had used for quite some How would you explain to someone who time, entered into my painting. From the border- has never heard about you or your art what line between subculture and artistic demands your work is about? evolved my interest in ruins, subsequently my Originally, I studied painting, but in time my search for duration and interest in the beauty works became increasingly more space con- of decay developed; these themes have captivated suming. In the meantime, there were also me until today. Photos: © Jasmine Deporta photographic and video works, which are partly Photos: © Christoph Liebentritt • read the full story on bit.ly/_ClemensWolf Julia, can you remember your first contact integrated in the objects and installations. Clemens, how did your interest in art and Being a professional painter doesn’t mean that with art? In my work processes, I address psychological your art study develop? I spend my life in the two-dimensionality of I can still remember one truly life-changing topics using partly performative, partly ritua- I began to get interested in graffiti and street canvases. The perspectives of my work result experience: I grew up partly in Innsbruck, listic approaches, and I also pursue feministic art at age fifteen, becoming a “sprayer” myself. from the exploration of painting, sculpture, but mostly in Kiel in Northern . The and socio-critical issues. I arrange my exhi- What began illegally with damaging the prop- and installation. Ultimately, it is important that permanent exhibition of the Museum für bitions so that the works become staged scenes erty of others became legal with commissioned viewers engage themselves in my work and I Kunst und Kulturgeschichte Schloss Gottorf appearing like set pieces from a drama. Often work. Later I studied art history and economics can formulate the origin of my ideas. in Schleswig presented the preserved body I become more interested in the exhibition space in Vienna, however, I abandoned these sub- of a young person, that had been found by peat and change the style or technique. jects in order to study art in Linz. cutters [in 1952] in a bog near Windeby. As a »Being a professional ten year old, this mummified corpse confronted You use diverse media in your works. Do You describe yourself as a painter but you painter doesn’t mean that me in a profound manner with the reality of these media have their own functions for you? also do installations that cannot really be 2 mortality and formed within me a connection There is painting. Painting does not lie. associated with painting. How do you explain I spend my life in the 3 with Viking culture. For nights I was torn A “good painting” simply is a “good painting”. that? two-dimensionality of between fear and fascination. In Tyrol the nu- And I can’t even say when and whether I Julia Bornefeld Jannis Kounellis once said that he was a painter merous crosses and representations of shall paint a “good painting”. A painting sur- is represented by and that his most important tools were light canvases.« Christ impressed me. At age nineteen, I saw prises the painter, one cannot plan it, it Galerie Elisabeth & Klaus Thoman, Vienna and space. This sentence has strongly influenced work by Beuys at the Hamburger Kunsthalle evolves. My objects on the other hand adapt their me. Kounellis’ installations are that Which reaction is to be expected in viewing Clemens Wolf that left a deep impression on me. Death, forms and dimensions often relation to the CURRENT SHOW were created with his preferred tools and raise your art? is represented by representations of death in art, sacred, pagan, respective exhibition space. The choice of media Grenzgänge: Julia Bornefeld & Michael Fliri questions regarding the definition of painting It is important to me that looking at my art Galerie Clemens Gunzer, Zurich/Kitzbühel and Christian imagery dealing with death, may occur quite spontaneously, how this plays Festung Franzensfeste, South Tyrol, Italy and sculpture. I too, play with these questions by results in a reaction, but I do not provide refer- and Galerie Steinek, Vienna and the finiteness of life have characterized my out is important to me. Sometimes there are UNTIL 3 JUN 2019 using the romantic components of classical ences. In the case of the Parachute Sculptures Interview: Gabriel Roland work and me for thirty years. performative steps between one and the other Interview: Alexandra-Maria Toth painting of light, space, and depth in a new way. viewers stand in front of abstract objects which

Still leben 13.09.18–17.02.19 Eigensinn der Dinge

Untere Weißgerberstraße 13 | 1030 Wien | Täglich 10:00-18:00 | www.kunsthauswien.com , 2012 © Andrea Witzmann Andrea 4 , 2012 © Zeit der Fülle In der Witzmann, Andrea

KHW_180913_Stillleben_1/3Inserat_CollectorsChronicle_190x90.indd 1 collectorsagenda.com 06.09.18 16:23 collectorsagenda.com COVERSTORY In the Studio Adrián Villar Rojas, Rosario In the Studio Kim Simonsson, Fiskars

Many of your works tap into a diverse network creatures. of references ranging from nature to ar- It is striking that none of them look really old. chaeology, art history, and pop culture. What At the same time these children make the fascinates you about these influences? impression of being very self-reliant, as if they The wide range of references is related to the had to grow up rather quickly. Why is that? epistemological fiction that guides my re- Yes, they are indeed very young. They are still search: the alien gaze playing with humanity's before their puberty. I think, before puberty, symbolic noise at the edge of silence with everything still seems possible. Everything cir- no value scales but only commitment to a deep culates around you and one may be comple- state of detachment. Around 2007, after my tely carefree. With puberty adulthood and the first experiments with this sort of radical other- responsibilities and constraints that are asso- ness between Incendio and Pieces of the ciated with it are already emerging. Things get People We Love, I made this ontological deci- more complicated and external social pres- sion to exile myself from this space-time, sure is building up. When creating them I had because I felt there was no longer anything to an apocalyptic moment in mind, a horrible think of regarding art. Following logical rea- disastrous event in mankind, after which only soning, I concluded: Since art has completed its children before puberty age survived. These cycle, we must think of it from the perspec- kids needed to become strong and self-reliant tive of post-completion. If we are in a sort of as nobody could look after them anymore. “Duchampian limbo”, adding comments to comments, adding noise to noise, why don’t we go to when there is a great silence on Earth, »I am trying to create and mourn art, or even mourn symbolic pro- duction itself? Therefore, every reference something that is can be inscribed within this operation of radical of an informal sublime estrangement. Photo: © Florian Langhammer Exhibition view of The Theater of Disappearance, 2017 at Kunsthaus Bregenz, Photo: © Jörg Baumann, Courtesy Adrián Villar Rojas, beauty.« Marian Goodman Gallery, New York, , and kurimanzutto, Mexiko-City With references to fairytale characters, manga films and computer games, Kim Simonsson’s Often the pieces you create and the space sculptures are very distinctive. His dreamy figures are a touch menacing, yet simultaneously fra- Adrián, your practice leads you to work that spanned from Europe to the U.S. includ- they demand are gigantic. What is the drama- gile and frail. They all share an appearance that is solitary and a little sad, tinged with a sense What would you like to convey to viewers of around the world without the need of a ing shows at The Metropolitan Museum of turgical role large dimensions play in your of uncertainty or uneasiness that is stirred among the viewer. your work. Is there a message or artistic studio space. What let you choose this no- Art, New York; Kunsthaus Bregenz, Austria; work? concern that you would like your work to madic life? NEON, Athens; and the Geffen Contemporary For me scale is not a poetic gesture but the in- Kim, having been trained in working with Your “Moss People” have taken quite a promi- convey? I need to be in contact with as much of the at MOCA, . What is the narrative strument to measure the intensity and com- ceramics and glass you could have also nent position in your work in the past few What I am trying to do in my art is to create geography of the planet as I am able to in order that connected these exhibitions? plexity of my interaction with a context, in what pursued a more “crafty” profession. Was it years. They look mystical as if from a secret something that is of an informal sublime beau- to absorb information directly. You cannot I see The Theater of Disappearance as a sort of I call a parasite-host relation. It also reflects always clear for you that you would take forest tribe. Who are they? And where do ty – something that admits also coincidence experience – feel, touch, think of – the “world” deconstructive homage to Western art. As if how parasite and host deal with each other’s an artistic direction with the skills you have they come from? and unintentional developments in its creation from a single location. Every context I am I was mourning it from Greece to the United possibilities, desires and potentials. It is the acquired with your education? Indeed many people associate them with the process. Once I feel I have reached that stage invited to work in, demands absorption into that States. I tried to metaphorize and even depict material expression of a political negotiation Until I was admitted to the ceramics and glass forest and they are often referred to as “Moss I stop working. I want to make work that is hon- 4 unfamiliar reality in order to understand and some moments of the contingent, power-based with all the agencies involved. class at Helsinki’s University of Arts and People”. The process how they came into be- est and true to my way of expressing myself. 5 interact with it. We can neither go on facing our building of its own genealogy, history, and • read the full story on bit.ly/_AdrianVillarRojas Design I hadn’t done any kind of sculpting. But ing was an accidental one. In 2012 I purchased • read the full story on bit.ly/_KimSimonsson practice as a commodity equally valid for any heritage. I soon discovered that creating something a flocking machine, which works with elec- place and time, nor as a universal subjectivity in 3-dimensional form actually felt more na- trostatic nylon fibers. I was working on a rabbit- descending with its truth to specially prepared tural to me, even more so than drawing. I like sculpture which I had coated with black

platforms installed all over the world, such as Adrián Villar Rojas realized quite soon that I had no passion for paint, but wasn’t convinced of the result. I coa- is represented by Kim Simonsson galleries, or institutions for our comfort and »The only sculpture applied design. So I started doing purely ted it with neon-yellow flocks and the way Marian Goodman Gallery, is represented by self-assertion. figurative sculptures. At the time I used to draw both colors reacted with each other produced I am interested in is New York/Paris/London Galerie Forsblom, Helsinki/ a lot of comics, from where I drew a lot of this specific green. It took me a while to rea- and kurimanzutto, Mexiko-City With your series under the umbrella title the human being.« inspiration. I always liked to tell stories with lize that this resembled moss, so I started to Interview: Florian Langhammer Theater of Disappearance you created a show Interview: Gabriel Roland the figures I created. think about these new sculptures as forest

PANTA RHEI 14 SEPTEMBER – 3 NOVEMBER 2018 #anotherhappycollector

SHEILA HICKS curator | Julia Garimorth, Paris JUDIT REIGL curated by_viennaline 2018

clemensgunzer.com Zürich – Kitzbühel Grünangergasse 1, 1010 Vienna, Austria, Tel +43 1 512 12 66, [email protected], www.schwarzwaelder.at

collectorsagenda.com collectorsagenda.com Edition Madeleine Boschan Portrait Kunst Haus Wien, Vienna In the Studio Thilo Jenssen, Vienna

challenged. How does the Haus der Fotografie, According to the positioning of the works or What lays bare in me, 2017 set within the Kunst Haus Wien, deal with this? their reflective as well as thermo-active picture In my view photography is more relevant than surface, the space and the immediate environ- Madeleine Boschan’s sculptures allow the viewer ever, it has become a part of our lives and a way ment for that matter, receive further meaning. to experience multiple layers of historical, emo- of expressing ourselves. Therefore, I consider it tional, and spiritual intention characterizing all man- extremely important to provide a forum in which Can you describe how the work process made locations and spaces. At times archaic in we can critically address the subject in all its generates the sculptural approach in your nature, they suggest earlier states of being. Struc- details, and discuss what photography is able painting? tural clarity, symmetry, sharp edges, and smooth to accomplish beyond the standard routine – My paintings develop in a very processual way. surfaces acknowledge Boschan’s intention to such as the increasingly fluid transition to mov- I follow a special procedure which actually overcome the complex mechanisms of nature. ing images. Interest in photography is extremely generates the painting. I sand, fill, and varnish In the process, social and ethical questions high, in talking to colleagues in other institu- the layers repeatedly until a “sleek” surface is play an important role: Where and how can the tions we have all observed above average visitor obtained which appears almost “like a screen”. encounter take place? How is it possible to Photo: © Barbara Niedetzky numbers for photographic presentations. The application of the paint and the sanding come together? Bettina Leidl, Director of Kunst Haus Wien and filling, creates an archeological access that which also houses Vienna’s Haus der Fotografie. What concept is driving your current exhibi- constantly exposes underlying color surfaces. As a point of departure for her work Boschan tion Still Life? The images take on something physical, and recalls epochs and places in which architecture Bettina, you have been the director of Kunst The still life has fascinated artists for 400 years. fine cracks and tears and other unplanned things has attempted to combine form, function, and Haus Wien since 2014. What’s your personal Today we see contemporary artists rediscov- appear that cohere the production process the proportions of the human body constructively. connection to photography? ering and re-examining this ancient genre for making it visible. These unintended variables Her inspiration derives from Greek antiquity, The In addition to the fact that I had already been themselves, beyond arranged fruits, blooms, and small mistakes in particular I find inter- Enlightenment, Modernism, Art Deco, the Bau- involved in photography in my professional life and other vanitas motifs that are familiar to us esting and they become the reason for further haus movement, and Brutalist architecture, all of in the early 90s, photography as an art form from the painterly still lives of the Old Masters. works. which describe this constant development. and medium is something I am particularly in- The exhibition features a younger generation terested in. I consider it important that such of artists who are reflecting our very own ‘pre- How did this work process develop? Madeleine Boschan (*1979) lives and works in a diverse medium be discussed across its entire sent’ in their photographs. While some have Photo: © Florian Langhammer On one hand I wanted to shift the characteris- Berlin. From 2000 to 2006, she studied at the spectrum: There are photographers who clear- chosen to aggressively combine high-end consu- Thilo Jenssen’s works incorporate sign structures, pop culture, and physical states of emergency. tics of painting and include visual impres- Braunschweig University of Arts with John M. ly see themselves as artists and have their place mer products with garbage and trash, others The studied sculptor experiments with thermo-active and other techniques plus a variety of me- sions of presence. A significant influence was Armleder and during 2002 at the École d’Art du in the contemporary art context. And then focus on things that are typically overlooked – dia, yet employs a painterly approach that may result in what may be perceived as an installation. the “Finish Fetish” movement of the 1960s Havre, Le Havre, France. Her works have been there are those photographers who address that is objects that represent the traces of our in Los Angeles where a group of artists around shown in numerous solo and group exhibitions in the tradition and theory of photography in everyday world and which often possess an idio- a pure painting class, in order to further deepen John McCracken used a variety of materials Germany, Austria, Switzerland as well as in their work, but surprisingly have no lobby in syncratic beauty warranting closer examination. »My work processes my painterly practice in a new city and a differ- and techniques borrowed from the industrial Spain, Belgium, Israel, and the United States. the museums. Through the internet and social often suggest a sculptural ent context. world, especially the automotive industry, to media there is a new approach and perception The coming year will see the debut of Foto produce objects inspired by Californian culture. In What lays bare in me, a series of seven unique of photography, which is why the current in- Wien, Vienna’s new photography festival, approach.« Despite your focus in painting, at first I too use lacquers and industrial paint to make pieces, Madeleine Boschan suggests that terest in and involvement with photography is succeeding Eyes On, for which Kunst Haus glance your works appear like installations shimmering object paintings that may refer to architecture is much more than the fundamental very high. This is also reflected in the high Wien will act as organizer and host. Thilo, you studied art and philosophy in and sculptures. the sub- and pop culture of my generation or human need to create a roof over one’s head. acceptance rate of our exhibition program Why is a new edition of the festival needed? and after your move to Vienna registered in I have repeatedly worked and experimented are simply based on everyday observations. 6 In a serious appreciation of architecture therefore, among the public. The agreed objective with the City of Vienna was the painting class of Daniel Richter. What mo- with a variety of media and my work processes • read the full story on bit.ly/_ThiloJenssen 7 it must be perceived as inherently utopian; to raise the profile for photographic practice tivated you to register for an additional study often suggest a sculptural approach. Frequently Madeleine Boschan’s most recent work configured How are you profiling Kunst Haus Wien that is happening here in Vienna. Festivals of- in art? I produce brackets or “displays” for the images in this edition represents a subtle study of this within Vienna’s diverse museum landscape? fer possibilities that would be restrictive for Although I had already studied sculpture at the which become an integral part of the work Thilo Jenssen inherent prerequisite. Every sculpture emits its own, When I took over the museum four years ago, institutions, such as the great diversity within Art Academy Kassel with Florian Slotawa and and enable me to treat them differently in space. is represented by very particular attraction. Each individual angu- it was important to me to sharpen the profile photography, the high level of education, show- Christian Phillip Müller and graduated in art and This may suggest an installation, but I under- KOENIG2 by_robbygreif, Vienna lation informs of its unique character and is further of the house. We have increasingly included the ing positions that might not be able to be shown philosophy, my artistic focus was always in stand these elements as painterly expansion confirmed by its coloration. local photography scene in our exhibition pro- in other contexts, to cross-link activities from painting. In Vienna I felt the need to register for and in turn they create further references. gram in order to position ourselves as a house institutions and other partners from the art Interview: Alexandra-Maria Toth Laquered aluminum for photography. We have put in place interna- sector. For the first time during Vienna’s Month 41 x 21 x 9 cm (16.1 x 8.3 x 3.5 inches) tional and Austrian photography in a contem- of Photography there will be a festival center Edition of 7 unique items, with certificate porary context, as is the case with our present and, with the involvement of France, we will 1.200 Euro (incl. 13% VAT) exhibition Still Life for example. Besides that, have a participating guest country, along with we never stop questioning the founder of the an extensive discursive program on the cur- colors: light salmon, light turquoise, house, Friedensreich Hundertwasser, and his rent status of photography. ZELLER VAN ALMSICK

light yellow, lilac, rust, strawberry red, teal work and find it extremely interesting to show kunsthauswien.com Interview: Florian Langhammer • more on bit.ly/_MadeleineBoschanEdition how he is received by today’s artists. 01.07.2018 – 06.01.2019

To what extent are Hundertwasser’s views and convictions still relevant today, and in MICHAEL what way can they be related to photography? I believe they are highly relevant. Hundertwas- ser was a visionary with regards to ecological matters. As a pioneer of the green movement FANTA in Austria he put his finger on central questions of our time: the loss of biodiversity, climate Nov 7 – Dec 1, 2018 change, recycling, and water shortage. Particu- larly in the western world, many people feel © VG Bild-Kunst, 2018 Susanne Kessler, Irrfahrt , the need to treat nature responsibly and respect- FROM INNER WORLDS fully and to strive to live in harmony with TO OUTER SPACE nature. Today, we regularly invite artists who Still Life – Obstinacy of Things address these current topics in their art. UNTIL 17 FEB 2019 Some of them combine their art with a political at Kunst Haus Wien commitment in order to move us out of our Franz-Josefs-Kai 3 SUSANNE KESSLER comfort zone. Foto Wien – 1010 Wien Monat der Fotografie The history of photography is not that old and 20 MAR – 20 APR 2019 mkdw.de · Hauptstraße 1 · 25938 Alkersum · Föhr 2016 Pizza Pizza, 2016 Annette Kelm, Courtesy KÖNIG© Annette Kelm. Galerie Berlin/London Photo: © Florian Langhammer its status as an art form has often been

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27.08.18_Collectors_agenda_60x100mm.indd 1 06/09/2018 09.30 In the Studio Daniel Gustav Cramer, Berlin Agenda ZONE 1 Editions Angelika Loderer Tobias Zielony Jonathan Meese/Daniel Richter/Tal R

I understand what you refer to when you men- tion a certain banality in the content of the images. The scenes are rarely spectacular. How- ever, each picture captures something worth seeing, sometimes it is only a minimal gesture. Every photograph I take is taken with the hope that a possible narrative will unfold. Later, in the studio, I can see whether a sequence can ac- tually be found that will yield a small story from the various pictures – or from one indivi- dual photograph. It is through repetition of a similar image that these narratives begin to emerge. Often almost invisible changes can

generate the most intense moments. Kulakova Photo: Kristina © viennacontemporary,

ZONE1 at viennacontemporary presents »Each picture captures artists under the age of 40 who are born, something worth seeing.« educated, or living and working in Austria. We talked to Victoria Dejaco, curator com- missioned with this year’s edition of ZONE1. Are you always ready with a finger on the shutter release to capture these situations? Victoria, what is your background and In a certain way yes. As a child, I used to climb personal motivation for curating ZONE1 with a friend up the drainpipe to the flat roof this year? of our house. Lying on the roof we looked into I am an art historian, curator, collection Photo: © Kristin Loschert Photo: © Kristin the adjacent gardens watching the neighbors manager, and developer of a new app called Daniel Gustav Cramer is known for his reduced mowing the lawn, reading their newspapers, simplify.art. With all these influences there yet complex spatial compositions using various we observed them through the windows inside is only one motivation that drives me, which Photo: © Michael Hensel, VG Bild-Kunst, Bonn Bild-Kunst, 2018 Hensel, VG Photo: © Michael media including film, sculpture, installation their houses, cooking and tidying up. From is to discover and provide a space for art and text. His photographs, for example, show up there the gardens appeared like stages of a that I personally feel passionate about and Snowball (Edition), 2018 Fire Boy, 2018 Es gibt sie noch, die Dinge, 2018 quite unremarkable scenes, which are open to theatre – the neighbors were our silent protag- that educates me in a way. Curating ZONE1 interpretation – snapshots of the moment – onists. At that time, I developed an eye for a means for me to be able to share my dis- For her new series of work, consisting of The captivating snapshot of a boy juggling It was for the first time that the three internatio- with minimal action, yet emanating a lyrical kind of miniature drama from specific perspec- coveries with a wider international public. 10 pieces, Angelika Loderer formed snowballs with fire is reminiscent of ancient pagan rituals nally renowned artists Jonathan Meese, Daniel narrative force that addresses the imagination tives. When I am traveling today, I always carry from fallen snow in order to cast them in brass. as they used to take place on the occasion Richter and Tal R have worked together on and causes the viewer to ponder. Often, the the camera with me. When I drive my car the Looking at the overall picture of vienna- In the process the ephemeral material melts, of summer and winter solstice, and they still do the occasion of a joint exhibition at Kunsthaus artist is concerned with the human presence camera lies in my lap, when I’m eating it is beside contemporary, what constitutes the changing its aggregate condition, this way be- in Latvia’s rural areas. The boy is part of a Stade. The exhibition tour, which led via and the invisible relationships between man my plate. I check the light meter often, with- purpose of having ZONE1 as a special coming a lost form. The very moment of immi- group of fire jugglers whom Zielony met at the Holstebro (DK) and Stade (GER) to Espoo and the environment. out taking a photograph, so that I can react im- exhibition? nent disappearance of the snowball is transformed industrial harbor of Andresjsala on a biting (FIN), represents a rare cooperation that thrived 8 mediately in case I notice a scene in front of Curated sections of a fair that place empha- into a durable solid state. As the process can- cold winter evening during an excursion to Lat- on collegiality and friendship. 9 Daniel, can you describe the essence of your my eyes. sis on local art such as ZONE1 can be not be repeated a second time, a series of ten via’s capital, Riga, to create his latest series In the run-up to the stop-over in Holstebro, work? especially exciting for guests who are visi- unique materializations of snowballs in the titled Golden, by which he continues his work Meese, Richter and Tal R slipped into costumes In my mind my work has an alter ego – song- Do you know in which direction you want to ting from farther away, who may be less moment of their disappearance has emerged. on underground communities in post-soviet and, for a moment, they transformed into writing. I am very interested in the sculptural develop your art, for example to continue to familiar with Austria’s and particularly Vienna’s Angelika Loderer’s work can be described as societies,. octopus, sharks and shrimp. These three marine qualities of images, sounds and texts, the abstract pursue a specific medium or a specific topic? local art scene. It’s a great way to get an media-reflective, as it is the properties and Tobias Zielony became known for his photo- animals were continued in many ways in the forms these works evoke. I am looking at the I see my works as fragments of an archive that impression of what’s happening in a city in manufacturing process of her chosen materials graphs showing marginalized young people in exhibition at the Kunsthaus. Shark, octopus and different relationships that we have with nature, is growing over the years. This archive ranges a nutshell. that determine their creation. Unusual combi- disadvantaged urban areas – images of youths shrimp are now permanently united in a limited with systems that strive to define human af- from photographs of moments to examina- nations of materials evoke alluring objects that hanging around and waiting. Socially disad- edition. fairs and with the things we know exist but can tions of collections, for example sightings of the Within the context of the Austrian art may occasionally remind of “performative sculp- vantaged people and subcultures not perceived The things, they still exist is the title of the only be sensed. We create a picture of the world, Loch Ness monster, UFOs, or a research on scene, is there a specific topic which you tures”. Her works deal with the tension between by the mainstream were a topic that had already edition, ironically referring to the trend in recent and another one, and many more. And constant- numbers. It ranges from visual or object-like are setting for ZONE1 this year? the fleeting moment and the permanent on interested Zielony during his studies in the years among a very specific clientele to ly replace older ones. Time and again I return commentaries regarding time and the per- This year’s edition showcases artists with the other side, as well as with the ambivalence industrial city of Newport, a cradle of British do- return to good old quality products for which to certain landscapes – to places where the ception of it to images of friendship, memory the ability to look closer at everyday life of value, transcience, and meaning, demonstrated cumentary photography. His photographs Manufactum – “The Department Store of weather can be felt. and love. There are still many topics that I stories, political situations, materials, and in the way the artist attributes new value to are portraits in the broadest sense, but they Good Things” – has become synonymous. want to work with. The archive and its elements the “conditio humana”. The way these mundane forms through the use of precious also have an element of the ethnological idea How do your works develop? Is there an idea will transform with the years artists unpack the world in their practice, ex- materials, for example. of participating observation. 3D-Print of ABS plastic, porcelain white at the outset that you try to realize? .• read the full story on bit.ly/_DanielGustavCramer press themselves, treat their subjects, varnish, acrylic spray paint The most important works often happen inci- or dive into topics makes them heralds of Cast patinated brass Archival Pigment Print, in frame 28.7 x 19 cm (11.3 x 7.5 inches) dentally. For example in Kumano, a forest area their time with each approach differing ca. 7 cm (2.75 inches) in diameter 24 x 36 cm (9.4 x 14.2 inches) Edition of 47 + 18 AP as unique pieces in Japan where I worked on a project, I stood widely from the other. All artists are currently 10 unique pieces + 3 AP Edition of 10 + 2 AP 980 Euro (incl. 7% VAT) during a brief break in a small harbor and much exhibited and discussed as part of 1.200 Euro (incl. 13% VAT) 990 Euro (incl. 13% VAT) • more on bit.ly/_MeeseRichterTalREdition noticed a school of fish near the pier. The water the art discourse and are worth to be disco- • more on bit.ly/_AngelikaLodererEdition • more on bit.ly/_TobiasZielonyEdition surface reflected the sky and clouds. The pre- vered by an international public. Show- sence of the fish below the surface were only re- casing fantastic young art is a concerted vealed by the movement of the waves they effort among everyone at ZONE1. caused. I grabbed my camera and filmed the Ich bin ein Riss, ich will scene. Other works, for example a book that Artists represented in ZONE1: describes all objects orbiting the sun – planets, Anne Speier I Galerie Meyer Kainer | F12 durch Wände gehen moons, meteorites or dwarf planets – evolved Nana Mandl I Galerie Lisa Kandlhofer | F13 Sammlung Peters-Messer after months of research. Philip Patkowitsch I bechter kastowsky galerie | F14 Miettinen Collection SALON DAHLMANN Tales 11 (Akropolis, Athens, Greece, Marburger Straße 3, 10789 Berlin Simon Iurino I 418GALLERY | F15 October 2010), 2014 Scenes like the one you describe in the Jap- James Lewis I Galerie Hubert Winter | F16 anese harbor appear at first rather banal. Charlotte Klobassa I Zeller van Almsick | F17 High Rider 22. 09. - 15. 12. 2018 Your photographic series Tales is concerned Daniel Gustav Cramer Julian Palacz I SCAG I F18 with similar, hardly spectacular scenes. If is represented by Sasha Auerbakh I : BARIL I F19 Aurora Reinhard Eröffnung: 21. 09. von 18 bis 21 Uhr they were vacation shots one would probably Galeria Vera Cortês, Lisbon viennacontemporary.at

Interview: Florian Langhammer edit them out …

collectorsagenda.com collectorsagenda.com In the Studio Anne Duk Hee Jordan, Berlin

time and started to study sculpture in Berlin could lie on the bed and watch the video, which Weissensee at the age of twenty-seven, excited with music from the 1970s is a very sensuous and to experiment with various materials. When esthetical film to begin with – very seductive, several professors left, I felt I was not getting like a soft porno. Lying on that gigantic water- Vienna ahead and I applied to Ólafur ElÍasson’s Insti- bed is as if becoming part of the underwater Düsseldorf tute for Spatial Experience and was accepted. world presented in the film. And that was the Frankfurt idea: that the body adapts itself while watching the film and the changes in the submarine Munich »Through transformation world, and how and why the organisms there London I make the are able to adapt themselves so quickly. Milan Human beings can’t do it. Paris non-visible visible.« Cannes What are you currently planning? Monte Carlo What can or ought art in your opinion My solo exhibition Ziggy und das Land der achieve? Do artists have a particular respon- betrunkenen Bäume [Ziggy on the Land of the www.akris.ch sibility? Drunken Trees], the follow-up to Ziggy and I think they have! Artists may perhaps have as the Starfish, my video work for the Riga Biennale large an impact as people who lecture about that I mentioned earlier, opens at Galerie political reforms. Artists can communicate to- Wedding in September. For the new Ziggy-film pics quite differently; perhaps not in a strin- I move from the ocean further inland for which gent, rigid manner but they can communicate I undertook a research trip to the tundra where concerns in a nonverbal manner… Art is one the problems are methane holes and below the of the most important media by which to change “timberline” in subarctic tundra regions, where social and political situations. This is import- “drunken” trees collapse as a result of melting ant to me and also to remain open and to com- permafrost due to global warming and hang as- Photo: © Jasmine Deporta municate. If one can’t do it in large measures, kew as if intoxicated. It is never boring in Anne Duk Hee Jordan’s one should at least try in small circles dealing universe. Like mini carousels clicking stones fly directly with people. This is the only way to What do you wish for the future? through the air, water drips and bubbles under change things. I wish that my art will expand further becom- pink light, lots of sketches, prints, and models ing larger so that I can reach more people. For are scattered around, a red bicycle that functions Can you describe in a few words the central myself I would like to have a large factory or as a „strawberry cannon“ leans on the wall. interest or topic of your work? production site with a lot of light and a space to Relentless curiosity leads the artist from work I transform organic or even dead matter in hold only my models, and that I can research to work and seduces viewers with sensual so- humorous and romantic machines and robots, and develop prototypes and robots. A laborato- phistication and humor confronting them with always with a reference to ecology. Through ry. A real research space! That has always been topics that on second glance are not actually transformation I make the non-visible visible, my childhood dream.

funny. depicting biological and chemical processes. • read the full story on bit.ly/_AnneDukHeeJordan Oswald Interview: Chrischa My works are primarily funny and sensuous 10 Duk Hee, how did you find your way into crea- and only on second glance does one become ting art? aware that they are actually not so funny at all The way to art was a very long one because I and hopefully this is understood by the viewer. Anne Duk Hee Jordan is represented by was always on the go. I couldn’t decide. I wan- balzer projects, ted to study electro engineering, but then I With your participatory installations you began to study multilingual communication. At often provide a playful approach for people CURRENT SHOW age twelve I began to train as a rescue diver, who would not necessarily stop and watch Ziggy on the Land of Drunken Trees free diver, and deep-sea diver for which I com- a video. at Galerie Wedding, Berlin pleted the required training. I am also a pro- Yes, that’s true. For the Biennale in Riga I built UNTIL 27 OCT 2018 fessional therapist, in the field of psychomotor a huge waterbed for Ziggy and the Starfish, activity. I have traveled the world for some furnished with marine animal pillows. Viewers

MARTIN WICKSTRÖM Popular Mechanics

September 21–October 21, 2018

collectorsagenda.com Agenda How to Guide to Art Fairs

"Ask about material, the date of creation, and I ask to make payment in installments? the context of the work. Never ask: What is the "If you are absolutely passionate about acquiring meaning of this work?" a piece, but are overstretching your budget, Rosemarie Schwarzwälder, Galerie nächst St. Stephan, Vienna we will not deny you the option of paying for it in installments. It is a good sign of seriousness "It’s always a good idea to ask if there are more and buying art should sometimes hurt a little. works available than the ones on the wall. It increases appreciation of the work even more.” Asking about the artist’s recent exhibitions also Robby Greif / KOENIG2 by_robbygreif, Vienna provides you with additional insights." Andreas Huber / Galerie CRONE, Vienna I am not coming to the fair with the fixed intention of buying art. What else can I do or The fair booth is always busy and I don’t want discover there? to impose on anyone’s time when I am at "Enjoy the art, meet people, increase your a stage in which I am not yet committed as a knowledge by attending talks and browsing the buyer. Is there a better time when gallerists art book shelves.” Andreas Huber / Galerie CRONE, Vienna have time for “less important” customers? "The day after the preview and opening is usual- "It is a great opportunity to become exposed to ly calmer, or on a Friday morning. and learn about art from around the world free The basic information about an artist is usually of charge. In addition to that the fair will have freely available at the booth to pick up. a great program including talks or tours among And never be afraid to ask. It’s our job to share others. Local museums and galleries will also information." offer great shows around the city to coincide with Sergey Popov / pop/off/art Gallery, Moscow the fair." Emanuel Layr / Galerie Emanuel Layr, Vienna "There are no less important customers. There © viennacontemporary, Photo: A. Murashkin © viennacontemporary, are only simple rules of etiquette, for example "You can train your eyes by just walking through Especially if one is new to discover the art not to interrupt an ongoing conversation but the booths and looking at the art, strike up a world and still unfamiliar with its unspoken rather wait for it to finish. We take the same time conversation with the gallerists or other collectors, rules and codes, one may feel apprehensive and effort to talk to everyone who wants to talk attend the talk programs, watch films and in making contact with galleries at art fairs, to us." videos by artists at the cinema or participate in for fear of exposing oneself as an uninformed Robby Greif / KOENIG2 by_robbygreif, Vienna a guided tour." newcomer. We talked to some gallerists Nathalie Halgand / Galerie Nathalie Halgand, Vienna who are exhibiting at Art Berlin or vienna- I really like the work of a specific artist. contemporary this year and asked them a Will the gallerist introduce me to the artist We would like to thank the following galleries couple of questions on behalf of less experi- so I can talk to her or him myself? for their participation and contribution: enced art lovers. "Of course. Bear in mind however that depend- Galerie CRONE Vienna/Berlin Galerie Nathalie Halgand Vienna ing on their personality, some artists are happy Galerie Christine König/KOENIG2 by_robbygreif Vienna 12 How much does a gallerist expect me to know to meet people, others less so.” Galerie Emanuel Layr Vienna Galerie nächst St. Stephan about art? Nathalie Halgand / Galerie Nathalie Halgand, Vienna Rosemarie Schwarzwälder Vienna pop/off/art Gallery "You don't have to know much, just don't be shy, Moscow Gabriele Senn Galerie Vienna be curious and open minded." "If the artist is at the fair there will likely be a Robby Greif / KOENIG2 by_robbygreif, Vienna chance to be introduced. A studio visit is also "Gallerists talk all the time about an artist’s a great chance for aspiring collectors to get to work and they are always open for an exchange." know the artists and their work better.” Gabriele Senn / Gabriele Senn Galerie, Vienna Emanuel Layr / Galerie Emanuel Layr, Vienna

What questions should I ask in order to gain There is a work I really like, but it is a bit out valuable insights into an artist’s work? Con- of my budget range. Is it appropriate for

Interview: Barbara Wünsch versely, what questions should I avoid asking? me to negotiate the price, or alternatively may

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