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The First Hit of PHANTOMAK
Opening, September 13 6 p.m., Gumpendorfer Straße 55, Vienna

CastYourArt presents

Artists: TOMAK and Alek Kawka.

Monday, September 13, 2010 the exhibition opening of “The First Hit of PHANTOMAK: The Ear Problem. No Problem.” takes place at CastYourArt Gumpendorfer Straße 55, Vienna. We are going to show artworks by TOMAK and photographs by Alek Kawka.

Twenty pictures, in which TOMAK dissects the project PHANTOMAK and literally shows us cutouts - heads, sculptures, identities, masquerade are the themes this pictures call into question. The artist Alek Kawka accompanies the project PHANTOMAK with her photography works.

Exhibition opening: Monday, September 13, 2010 at 6p.m., the artists will be present
Exhibition: September 14 until October 8, 2010 | Mo-Fr | 12p.m. – 5p.m.
Address: Gumpendorfer Str. 55, 1060 Vienna

Edgar Honetschläger tests the boundaries of the possible, always along the limit in order to question the existing standard, the process being as important as the results.

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Vain is the attempt to classify this corpus of ideas into orderly progressions, straight lines, fixed positions, separate stages. Edgar Honetschläger’s work and life do not allow for that. He moves between cultures and working techniques and operates with the diversity and inconsistency of a globalized world. more »

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Esra Ersen is interested in the formation of identity and its transformation in different contexts or power structures. Her work “Carousel” shown in the exhibition tanzimat (Augarten Contemporary 21.1.2010 - 16.5.2010) was produced with high school students from Cologne. Ersen asked the students to model Turkish heads out of clay.

Developed in parallel to the major Prince Eugen of Savoy exhibition at the Lower Belvedere, tanzimat at the Augarten Contemporary examines the continual reorganization of historical constructs and devices that underscore the neverending project of modernity.

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It is an interesting fact that the fez, the iconic Turkish hat that was originally instituted as a “modernizing” symbol for the Ottoman Empire in 1826, was later banned in Turkey in 1925, also as part of a “modernizing” reform. It is also interesting to note that after the invention of synthetic dyes, the main manufacturer of the fez—which up until that point had been colored with native berry juice—was located in Austria, that is, until it was boycotted by Turkey in 1908 more »

Christian Eisenberger’s art work and performances often smack of insouciance, but, like a child and even more like an artist, his desire to engage is very real.

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When a tree falls down in the forest and noone witnesses it, did it really happen? When an artist makes a sculpture on top of a mountain and noone sees it, is it really art? more »

Irene Andessner’s self-dramatizations are revivals of historical personalities that utilize memory as a source of reactivation.

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Irene Andessner began her career with painting. She first studied with Emilio Vedova, one of the most important Italian Informal painters, at the Academia di Belli Arti in Venice, and then with Max Weiler and Arnulf Rainer—also a representative of the Informal—at the Academy of Fine Arts in Vienna. Andessner encountered paintings by the Italian Renaissance painter, Sofonisba Anguissola, for the first time at an exhibition at the Kunsthistorisches Museum in Vienna. The self-portraits fascinated her, more »

Warhol, Newman, Wool “Barney is now at another party.“ When exhibitions show artistic developments in a larger context, it is a good thing for every visitor. Such an exhibition can be seen at the moment at Kunsthaus Graz. Under the curatorial direction of Peter Pakesch, the exhibition “Warhol, Wool, Newman” bridges the gap between abstract American expressionism, minimal and pop art, and some of the art of our time. This podcast was realised with the kind support of UNIQUA ArtCercles.

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Abstract American expressionism brought a new image and understanding of space into the world of art. The viewer played a central role here, because the work was no longer possible without his/her presence. In Barnett Newman’s work, this becomes noticeably clear. It positions the viewer as the counterpart and participant in the space of the image and confronts him/her with a physical reality. more »

Götz Valien calls himself a “picture-maker”. The term seems to refer to someone who produces a handicraft rather than a work of art. However, when one looks at his work as a whole, the self-designation “picture-maker” loses the crudeness that one might be tempted to initially expect.

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It is not necessarily the same whether one paints pictures or whether one engages with the creation of pictures as a phenomenon through painting. As a picture-maker, Götz Valien is interested in the efficiency with which pictures release, whether emotionally, consciously, or unconsciously, that which is buried deep within us, in the same way figurative language can. In his work, he uses this effectiveness and at the same time, exposes it—that is the agenda behind his picture-making art. more »

It was animals that were created first, only thereafter, human beings. Seniority, the privilege of age, was compensated by the privilege of designation, the late arrival meant: “the ability to observe and appropriately designate what came before“. (Peter Sloterdijk) But human beings are the notorious late arrivers, one should not be deceived by the biblical version. Because humans only come into their own through language, the individual must always harbor the eerily daunting gap of pre-linguistic existence.

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When Deborah Sengl uses metalinguistic capability in order to create a new word, she refers to the fact that the found language masks as much as it reveals. By creating the word “ertarnen“ (“to deceive through displacement”), which is used in most of the titles of her artworks, she incapsulates the central themes of her work: humans, animals, camouflage, and breeding. more »