Max Nagl and Stephan Reusse
At the Galleries: May 2010
Imagine what would the world be like without any gravity. Things mingling in the air, at liberty, detached, and “unrooted.” This phenomenon gives gallery visitors a sneak preview of what transcendence may be like.
We are Floating in the Air (Apr. 8-May 29)
Eduardo Vega de Seoane’s paintings & jazz
by Max Nagl
Eduardo Vega de Seoane is often referred to as an abstract expressionist. But he himself stands clear of all categorizations. The style which Seoane is particularly interested in, he calls “free painting” – the one that features writings, blotches of color and shapes that are more or less recognizable.
Spring of 2010 marks Seoane’s initial exhibit in Austria. The painter’s artifice gives an introspective collage of his inner state. His brushes dance to the beat of his inventive imagination, making Seoane the creator of his own definitions. Every painting is decentralized, and even the simplest show a stylistic vocabulary that melts into his theme of “aerial acrobacy.” His images lift into suspended space with a type of lightness that usually attributed to amorphous entities. Seoane integrates the transcendental with form and color. During the painting exhibitions, the sounds of Max Nagl’s saxophone accompany, contributing to a sense of ethereal detachment characteristic or the painter’s work.
7., Westbahnstraße 27-29
Lukas Feichtner Gallery
Curated by Stephan Reusse (May 6-Jun. 5)
Reusse describes his work as “fusing independent bodies to create an ideal synthesis” often generating complex meanings. For him images refer only to time, rather than paper or celluloid, because time is what makes things possible. Visibility, invisibility, reception, and perception are all derivatives of time. Every image is a product of temporal effect. Time becomes a factor of light and is the inevitable constituent of each photo.
Reusse belongs to the generation of artists whose works incorporate semiotics and linguistics. He dissects the fundamental questions that incorporate perception and visibility through use of media, which in turn become instruments of artistic discourse. In his “Safari Deutshland Giraffe” video series using images dating back to the nineteenth century, German domestic animals are staged as “holiday trophies,” as they become iconographic settings of reality, but paradoxically, not actual reality.
“Collaboration I,” developed in the 1980s, reformulates art via pictorial dialogues between artists. Using trick photograph and manipulated images, the depicted artists mutate into extraterrestrials, and are even “pluralized”. The result is ironic, an aesthetic reflection and a glimpse of the artist’s self-representation. Reusse also experiments with thermo-photography experimentation, regarding images as a phenomenon of light – a result of chemical and technological interaction.
Thermography, which is characterized by the presence and/or absence of visibility, sheds light on immateriality and existentialism. More precisely, thermography is in direct correlation with photography. Reusse explains so himself that photography like thermography is a “ruinous art” for it “renders its objects visible” as time slowly elapses and slips away.
Lukas Feichtner Galerie
1., Seilerstätte 19
(01) 512 09 10