CastYourArt presents

Opening: Tuesday, 28 June 2011 | 7.00 - 10.00 pm
Exhibition: 29 Jun 2011 - 29 Jul 2011 | Mo-Fr 1.00 pm - 7.00 pm
Location: Gumpendorfer Straße 55, 1060 Wien/Vienna

CastYourArt presents

Opening: Wednesday, 24 November 2010 | 6.00 - 10.00 pm
Exhibition: 25 Nov 2010 - 08 Jan 2011 | Mo-Fr 12.00 - 18.00 Uhr
Location: Gumpendorfer Straße 55, 1060 Wien/Vienna

Whenever the artist Clemens Hollerer leaves his house, his camera is always with him. He uses it as his sketchbook. By now he disposes of his own archive of photographs serving as sources for his works. Frequently he takes pictures of construction sites. Construction sites are places of transformation and photos are snapshots, freezing a moment in time when everything around stays in movement.
In his works Clemens Hollerer transfers the captured moments into new spaces and locations. In doing so he is not copying but rather reinterpreting and recreating within new surroundings. References to spaces, structures, surfaces, colors, to the simplicity of objects, as well as to construction and disassembly as expression of change distinguish his works. Predominantly, he uses wood as material because it is human, has life of its own; it is not perfect and at the same time strong and fragile. Because his works are often designed for the specific location where they are shown, in the majority of cases they are disassembled at the end of the exhibition. Assembly and disassembly are part of the construction site and part of his art. Only few works remain, often they are photos recording the works of art, in a moment of time. (wh/ca)

A grid-like strut frame, constructed out of several vertical and horizontal aluminum rods, stands in the space, and is held both together and upright by means of a chaotic network of wide black rubber bands with no visible beginning or end. The sculpture conveys a precarious stability, based on workings of gravity, traction, pressure, and friction. Bringing attention to the forces that constitute a work is a central concern of the artist, Michael Kienzer. Through the methods of interlacing, interweaving, and extensive tension, he creates links, references, connections between things and materials, and thereby reveals the fact that it is not the elements themselves, but the mutual relations between the elements—what is formed in between—that represents the character of a work.

[8:03 min] download for: mobile | Computer & iPod | send feedback

Kienzer completed his degree at the Kunstgewerbeschule in Graz and the University of Applied Arts in Vienna, where he studied sculpture under Bruno Gironcoli. For his work—which has received numerous awards, among them the Monsignore Otto Mauer Award—he uses various media; for objects, installations, and designs, he takes different approaches to themes such as space, time, surface, compression, materiality, image, and the original. His sculptural interventions are mostly site-specific, working within the means of a given space. For example, in a lapidary fashion, two aluminum plates are set up straight across a space, supported only by themselves and the walls, drawing attention to the physical forces at work, therby shifting them, and changing the viewer’s perspective of the structures, which at first appear unalterable. more »

In the modern, functionally disenchanted world, those who seek out magical moments must first acknowledge reality, but still hold on to the belief that that which is possible can reveal itself in reality. The magic of enchantment exists in transformation. It is based on the ability of the ordinary, banal, and overlooked to wake the fantasy buried within ourselves.

| send feedback

Two parallel curved pencils experience togetherness. Small flames burn from the valves of the tires of a casually parked bicycle. Lighters positioned next to each other share an adjoining flame. The Israeli artist Ariel Schlesinger describes himself as a little romantic. His sense for the fantastic and awareness of the possible as that which is overlooked in reality are two jumping-off points for his art, which magically draws in and fascinates viewers through subtle interventions. more »

As you are looking at this podcast, you are looking into a monitor, be it on your laptop, your iPod, your mobile phone, etc. But how much time do you spend actually looking at your monitor, a physical object that one has come to take completely for granted? The point of a mobile world, in fact, is that these objects, through which we stay connected with an information-saturated world, are disposable—toys that we purchase and update on a regular basis, and, at the same rate, discard and forget about just as quickly.

[6:05 min] download for: mobile | computer & iPod | send feedback

In Noah Fischer’s work, one returns to looking at this neglected object, the monitor, in all its different versions and models over the ages—a technological “era” which only really covers about thirty years of time. The Brooklyn-based artist was first drawn to the monitor by noticing the predominance of them in trash heaps on the streets of New York. more »

Sculptures and installations of the artist Thomas Baumann possess the quality of being alive. Usually, they are moving. They de-form, they make noises, they move their observers: emotionally, in terms of their beliefs, through the challenge to participate even physically. Movement, says the artist, is a language of our time. We understand it and feel addressed by it on different levels.

[5:41 min] download for: mobile | computer & iPod | send feedback

Thomas Baumann’s produces his work from mechanical, technological, and electronic materials. The units of construction have their own aesthetic, and do not remain hidden behind the façades of design. In this way, the sculptures retain the quality of being mechanically engineered works of art which create the effect of being the siblings of those machines that are used in the production lines of industrial manufacturing. more »