Sandro Droschl

  • Abstract Hungary

    Abstract Hungary

    Sandro Droschl

    Since the 1960s, artists in Hungary have displayed a penchant for abstraction when it comes to complex social conditions and efforts to enact political change.

    The abstracted visual language of Hungarian artists is the focus in the Künstlerhaus exhibition “Ábstract Hungary” curated by Ákos Ezer, a painter who in this catalog hastranslated the present-day reality in his home country through the framework of "abstraction." This theme is, in fact, a revival, as the Künstlerhaus has previously presented the group exhibition “Abstract Hungary” in 2017. With a sweeping selection of twenty-four Hungarian artists, including Imre Bak, Tamás Kaszás, Dóra Maurer, and Zsolt Tibor, the show was devoted to methods of abstraction of varying dialogical nature. The exhibition represented a broader narrative blueprint of the hotly debated term “abstraction” and showed both established and aspiring artistic positions, some of which were exhibited there in Austria for the first time.

    This exhibition catalogue seeks to expand these two eponymous projects, and consolidate the abstracted view of Hungary.

    ContributorsDávid Fehér, Áron Fenyvesi, Michael Wimmer, Mónika Zsikla

    Published by Sternberg Press and Künstlerhaus Halle für Kunst und Medien, Graz AT

    • Paperback $29.95
  • The only performances that make it all the way...

    The only performances that make it all the way...

    Yes, but is it performable?

    Sandro Droschl

    This catalogue is published on the occasion of the two group exhibitions “The only performances that make it all the way...“ and “Yes, but is it performable? Investigations on the Performative Paradox“ which were shown at Künstlerhaus, Halle für Kunst & Medien in 2013 and 2016.

    Both exhibitions are united by an activating dialogical confrontation of recent, performative practices and performances dealing with the main works of historical forerunners. Throughout the respective exhibition, two to three works were added, while also parts and objects of the performances remained in the exhibition space, thus the exhibition set-up presented itself as transparent and could be experienced by the audience.

    ContributorsChristian Egger, Sabine Weier, Tanja Widmann

    • Paperback $32.00
  • Stephan Dillemuth

    Stephan Dillemuth

    Schall und Rauch. Eine Revue in Bildern / Sound and Smoke—A Revue in Pictures

    Sandro Droschl

    This catalogue illustrates Stephan Dillemuth's elaborate solo show at the Künstlerhaus, Halle für Kunst & Medien, Graz, through installation photographs as well as texts by art historian Kerstin Stakemeier and theorist Helmut Draxler. The exhibition presented newly conceived works alongside works from the 1980s exhibited for the first time. Dillemuth's paintings, sculptures, video projections, and assemblages are brought together as a theatrical social group. Plaster-cast limbs appear unexpectedly from the ceiling, enmeshed within clock cogs or combined with boars' heads, cattle ears, and deer feet. Dillemuth's Bayernbilder (1979) were inspired by sentimental and trivial postcard motifs from Bavarian spa towns. In Schönheitsgalerie (1985), featuring over fifty works, Dillemuth explores questions of representation. His gallery turns against the idea of external beauty and how it is represented in art. The paintings, like the faces, develop a life of their own through the process of painting, which makes it possible to see a new kind of “beauty.” Works that Dillemuth produced in the late 1980s in Chicago, exhibited for the first time, resemble disco decorations, and glitter in the light of a video projection. Is disco a “theater of cruelty”—an ecstatic place where all images, whether ugly or beautiful, mean or seductive, are transcendent?

    Addressing the question of the role of the artist in society, Dillemuth challenges the contemporary imperative that artists, as exemplars of individuality, are required to have a distinct authorial identity. Despite a history of working collaboratively and prioritizing artistic research, at the Künstlerhaus Dillemuth exposes himself as a solo artist, reconstructing the history of his work from the margins of group life that has taken shape in the midst of it. Here he reveals the consistency of the farce of his ego, the heroic yet bad-mannered delinquent artist subject. Dillemuth presents his aging body for all to see, playing with the boundaries between inside and outside, institution and alternative, and life and form.

    Copublished with Künstlerhaus, Halle für Kunst & Medien, Graz

    ContributorsKerstin Stakemeier, Helmut Draxler

    • Paperback $28.00
  • Darja Bajagić

    Darja Bajagić

    Unlimited Hate

    Sandro Droschl

    For her first institutional solo Darja Bajagić turns to the murky terrain where real and staged violence bleed into each other with an ease both unsettling and alluring. This has been a key undercurrent to a practice that spans painting, sculpture, video, and installation. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums, and hidden chat rooms tucked away in the darker reaches of the Web. She handles these disparate source materials with a dose of humor, working them into densely layered compositions that are at once confrontational and poetically fragile. Bajagić explores loaded questions of embodiment, viewership, and power relations, all the while interrogating our need to hold images accountable.

    The catalogue is published on the occasion of the artist's first institutional exhibition, “Unlimited Hate,” which was shown at Künstlerhaus, Halle für Kunst & Medien in the summer of 2016.

    ContributorsAlissa Bennett, Franklin Melendez, Natalia Sielewicz

    • Paperback $28.00
  • Florian Hecker / John McCracken

    Florian Hecker / John McCracken

    Sandro Droschl

    Following the 2015 exhibition “Florian Hecker/John McCracken” at Künstlerhaus, Halle für Kunst & Medien Graz, this publication probes the experimental capacity of the white-cube space of the gallery. For the exhibition, two complementary yet autonomous artists were brought into dialogue with each other: German artist and computer composer Florian Hecker, and the late American sculptor John McCracken.

    The fiberglass-coated, monochrome “planks” by McCracken spanned the floor and the walls of the building, evoking a juncture between painting and sculpture, while Hecker's computer-generated sound pieces dramatized both space and time. By combining the work of the two artists, a framework was created in which an aesthetic experience occurred between the shifting boundaries and intersections of sculpture and sound as they affected each other within a space consisting of geometric and architectural formations as well as temporal and subjective formations. At the same time, the viewer/listener became more sensitized to the conditions, qualities, and degrees of intensity between the physical and the ephemeral.

    The publication includes a curatorial introduction by Christian Egger, and a comprehensive essay by the author and curator of the Serralves Museum of Contemporary Art, Porto, João Ribas. The cover has been designed by Florian Hecker using an objectness measure algorithm.

    Copublished with Künstlerhaus, Halle für Kunst & Medien Graz

    ContributorsChristian Egger and João Ribas

    • Paperback $14.95