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Alexander Ruthners Paintings Give the Impression of Ornamental Patterns and Aesthetical Decor

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Alexander Ruthners Paintings Give the Impression of Ornamental Patterns and Aesthetical Decor Alexander Ruthner For the press Regarded throughout the series the continuous repetition of floral elements inAlexander Ruthners paintings give the impression of ornamental patterns and aesthetical decor. In their decorativity the oil paintings grasp an es- sence of classical painting, but these romantic impressions get fractured by relics of contemporary culture(s). On closer examination the aesthetical approach tends to portray the ambivalence of de-naturalized modern living. The paintings might promise salvation at the first view: The deliverance from nowadays being might appear in some kind of natural paradise, that the green shades in the paintings offer, but at the second glance this promi- se turns out to be an illusion. There is no such escapism for today´s urban youth. Nature only offers a locus for boredom. So this tediousness meets the banal. The trivialities entail not just the absurd but some kind of horror; a threat intrinsically, because of the suggestion of the impossible. Yet the paintings include some kind of nostalgia an love for the alternative cultures. These aspects of the super- ficial are crucial to Alexander Ruthners topics. The connotations of coolness and trivial gestures so seem to be arbitrarily disseminated on the paintings. But the blurring of foreground and back underlines painting´s intrinsic feature of flatness. With their predominance of shades of green the canvases are reminiscent of classical landscape painting. But this subtle reference to landscape art gets annihilated by the dominion of the surface over the three-dimensional. Blue Chip Oil on Canvas 180 x 200 cm 2013 The Blue Chip is a blue chewing gum. A bored exhibition visitor left it on the painting quasi as a souvenir. It is camomile tea or elderberry juice which taste good and are healthy, but do not make you drunk. Unfortunately, it is not possible for us, who live in the metropolises of the world, to contemplate the starlit sky. The street lighting and the smog create and reflect too much light. It is established that the gaze of the astronaut is fixed on the blue, little Earth. The Blue Chip is made out of a small blue potato. Wiesenstück Oil on Canvas 180 x 200 cm 2013 WIESENSTÜCK If one sees the painting meadow bit from a great distance, one instantaneously feels the need to approach it since meadow bit is one of those paintings best contemplated from very close. One easily recalls the 2007 Biennale contribution of the Austrian painter Herbert Brandl, which sanctified meadows. At the time, one of Brandl‘s paintings was consciously hung outside of the pavilion, where it was exposed to wind and weather, but also prompted vandalism (of the painting). Unfortunately, I only learned this when reading the catalogue - too late – thus sabotaging myself by complying to rules again. There are probably not many things more beautiful than a sprayed-on meadow. Hacienda Oil on Canvas 180 x 200 cm 2013 HACIENDA “The Zeitgeist called it “New Painting“. However, it was just party art . “ Peter Weibel, 2013 How not to run a club, is the title of the book about one of the most notoriously famous clubs of all times - the Fac51 Hacienda in Manchester. The name of the club, Hacienda, derives from a text called “Formulary for a New Urbanism” by Iwan Schtscheglow. For the manager of the Hazienda the ideals and concepts of the Lettrists and Situationists were instrumental for the edification of the club and of the record label Factory Records (Joy Division, New Order....) The experience and perception of art and that of celebrating and partying is one that is different and should not be mingled. However, the search for, or the actual edification of a counter-world lies at the heart of both. When, as a small child, one couldn‘t speak or didn‘t, for instance, know, where the fog came from and why it suddenly disappeared, life was accompanied by short instances of odd clarity, everything appeared glossy and sparkled in the sun- or moonshine. In these moments one remembered nothing and there was no future. The painting Hazienda deals with the laughable gesture of the cocktail. Everything mixed! Homework Union Oil on Canvas Oil on Canvas 135 x 135 cm 135 x 135 cm 2013 2013 Environment Pin/ Button Oil on Canvas Oil on Canvas 100 x100 cm 100 x100 cm 2013 2013 ENVIRONMENT, HOMEWORK, UNION, PIN / BUTTON The abstract, ornamental painting of a Friedensreich Hundertwasser or a Gustav Klimt serves as starting point for paintings like Environment, Union or zB Pin/Button. Since the ornament is by nature a crime (Adolf Loos), one shouldn‘t/can‘t perceive paintings as a demimonde. What happens when one conflates esoteric and political conscience? The conception of the depressive Hippie. Air Oil on Canvas 100 x 90 cm 2013 AIR ‚90s kids identify the title of this painting with melodious music, boredom, scratched underarms and suicide. The flicked away, barely put out cigarettes indicate past action. A nostalgic picture. Cloud Atlas Oil on Canvas 100 x 100 cm 2013 CLOUD ATLAS The torn off head of a Micky Mouse play figure, airbrushed moss, the metamorphisis of a tissue paper to a peace dove – and why the hell is the grass blue? Despite never having watched the film Cloud Atlas, I liked the title. The motion picture Cloud Atlas narrates the story of a long time span. Furthermore the title is composed by two words which describe nature. Mingus Oil on Canvas 100 x 90 cm 2013 MINGUS In the Western World the Ming-vase is first and foremost (in film and TV) apprehended as symbol for high-end craftsmanship and invaluable worth which is often destroyed by sloppy gestures like the accidental push of a socket or a fight. Mostly this act is inserted in the canon of comedy. The depicted Ming-vase as cocktail recipient with straw and lemon reminisces the perception of Asian culture similarly - consciously superficial. However, the depiction tries to indicate a deeper laying problem of our times: The perception and understanding of images shifted from the generative source to a concentration on accessibility in media and appropriation. Omega Oil on Canvas 100 x 90 cm 2013 OMEGA Omega Speedmaster Professional is the correct designation of the here mannerly depicted watch (see also: Nature of Speed). The absence of a hand is indicative of an invisible carrier (a so called invisible man). Never was he portray- ed on such a dusty canvas; even the dust is painted. One can discern various citations of the painting canon. A tuft of grass sits at the corner of the painting like the impact of a grenade. However, there remains room for the depicted space to expand into the back. Untitled Kaviar Oil on Canvas 100 x 90 cm 2013 Untitled Caviar What is hidden underneath the surface? I too often fell into the water as a small child. But mermaids never pulled me into a deeper realm. Caviar is supposed to taste good, but I only know frog spawn, in which little tadpoles already fidget. In the last second I reach the shore with mud in my hair. The painting depicts the water of an untended pool. Sylvretta Oil on Canvas 100 x 90 cm 2013 Zurbarans Zitrone Oil on Canvas 100 x 90 cm 2013 Planet Oil on Canvas 90 x 90 cm 2013 Untitled Oil on Canvas 100 x 100 cm 2013 Bazille Oil on Canvas 100 x 100 cm 2013 Tagtrauma Oil on Canvas 150 x 200 cm 2012 “Tagtrauma” (engl.: Daytrauma) The painting “Tagtrauma” shows a meadow coated with puddles which are complemented by ochre-brown streaks underscoring the camouflage quality of it. The apparent weight of the (meadow-, oil-, mud-) carpet is relieved by graphically sloppy details which cover almost the entire area.Only three puddles of water interrupt this background which mirror a starry sky. The complete lack of a vanishing point tempts the eye to constantly meander over the painting and to concentrate on the focussed and unfocussed spots. One tries to figure out where one is located but never achieves any clarity. Tagtrauma is a quiet, dark, and secret place which one wants to withdraw to, but which doesn’t exist. If one was to enter it, it could just so happen, that there will be no exit. Still, one is entranced by the dull beauty of eternity. The claim of eternity is also evoked by an exaggerated, brush centred method, which registers painting technique only at the side and worships the spontaneous gesture. The conflation of reality and dream happens when one focusses his eyes on the same spot for too long. The almost preraphaelite nature of the painting is fractured by the Underground and subculture codes. Thrown on the image almost like bombs of colour, the camouflage elements reminisce an army trouser or jacket. Textile print and genre are not unwanted associations in Daytrauma – if one can even say that any association is actively wanted here. Taytrauma rests like a pond which one would have liked to visit but never could; which one didn‘t have the courage to approach, since one was scared to know what it conceals: a memory of the future. Olympia Oil on Canvas 150 x 200 cm 2012 Untitled Oil on Canvas 190 x 210 cm 2012 9, Lenikus Collection (2011) Untitled Oil on Canvas 135 x 135 cm 2011 installation view Vacant Galleries, Gschwandner Hallen (2012) Untitled ABC Oil on Canvas 190 x 900 cm (3 Panels a 190 x 300 cm) 2012 Untitled ABC Oil on Canvas 190 x 900 cm (3 Panels a 190 x 300 cm) 2012 Gruppe, Studio Mühlgasse (2011) Big Nada Oil on Canvas 190 x 180 cm 2011 American Apparel Oil on Canvas 100 x 150 cm 2011 Yamaha Oil on Canvas 80 x 80 cm 2011 Status quo, Kunstraum am Schauplatz (2011) One week of boredom installation mixed media Hay, oil on canvas, paper, wood 400cm x 200 cm 2010 EINE magazine (2005 - present) EINE 1 EINE 2 Published: 2007 Published: 2009 20 pages / 1-color 144 pages / 4-color With With Rade Petrasevic and Alexander Ruthner Stephane de Castelbajac, Franz Graf, Lukas Gansterer, Cathrin Ulikowski, Albert Mayr uva EINE 3 EINE 4 Published: 2010 Published: 2012 340 pages / 4-color 200 pages / 4-color With With Daniel Richter, Jonathan Meese, Anna Jermolaewa, Catherine Hug, Max Henry, COCO, Wendy & Jim, Manuel Gorkiewcz, Christian Mayer, Albert Oehlen, Plamen Dejanoff, Katharina Grosse, Oswald Oberhuber, Stefan Armbruster, John Bock and many others.
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