UNTITLED (THE AUTHOR ENTITLES TEXTS BY EXPERIMENTING WITH ART.)
Kunstverein Medienturm, Graz/Austria | 18 June 2010, 7 pm (Opening/Performances)

Featuring works by: Anna Artaker, Miriam Bajtala, Nikolaus Gansterer, Michael Kargl – aka carlos katastrofsky, Miriam Laussegger / Eva Beierheimer, Jörg Piringer

Performances: worte#26/lesung/2010, by Eva Beierheimer & Miriam Laussegger | entwurf einer grammatik des kontinuums – sound/video/drawing/text, by Jörg Piringer & Nikolaus Gansterer

The prevalent components of the art reception are, at present, the continuum of the artist’s visage, the integration into the world of celebrity, the calculation of capacity and municipal marketing of the institutions, the pop- and soap connection and the child-oriented cooperative interactivity.
—Diedrich Diederichsen

Pseudonyms, avatars and artificial characters—incognito and bodiless, authors hastily appear in blogs and online forums using these as retreat in an increasingly more transparent world. Nameless, without age and descent and dwelling in this vague anonymity, they seem to honour “The Death of the Author” as emblematically as it has already been postulated, long ago, in the context of literary theory. However, even if the biography—in theory—might have disengaged from the meaning of the work, the literature- and the art scene symbolically and actually focus on the individual. Institutions which adjust their program to the market according to significant stages in the life of their protagonists, but also debates around copyrights and copyright licenses directly refer to the irrevocable relevance of the biography in a “regime of biographism and narcism, service processuality and authenticity”—the curriculum as measure of all art production? Starting from the idea of a “modern scriptor” who is “born simultaneously with the text”—as introduced by literary criticism—the exhibition untitled (The Author Entitles Texts By Experimenting With Art.) questions an art market-driven orientation towards subject and biography as meaningful criteria in the valuation of art.

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Furthermore on display this year:
Group exhibition @ Galerija Galzenica, Velika Gorica/Croatia

WHITE, YELLOW, BLUE, AND BLACK, ONE COINCIDENCE, AND ONE OBJECT.
Galerija Galzenica, Velika Gorica/Croatia | 15 September 2010, 7 pm (Opening)

Featuring works by: Ryan Barone, Charles Broskoski, Reynald Drouhin, Michael Kargl – aka carlos katastrofsky, Jan Robert Leegte, UBERMORGEN.COM (Hans Bernhard & Lizvlx)

The claim for pictoral meaning still exists. Then even your Abstract Paintings should convey a content? / Yes. / They’re not the negation of content, not simply the facticity of painting, not an ironic paraphrase of contemporary expressionism? / No. / Not a perversion of gestural abstraction? Not ironic? / Never! What sort of things are you asking?
—Gerhard Richter/Benjamin Buchloh

Value, structure, material and space as parameters of monochrome painting, colour as an articulation of itself, dissociated of any kind of interpretation, independent of context – autonomous? If monochromacity is considered as the most substantial form of abstract painting the long-lasting intellectual processes bound to it are still continued in the age of the digital image. Although the exhibition White, Yellow, Blue, and Black, One Coincidence, and one Object. applies monochromacity to Internet-based Art, it does not stick neither to the formal principles nor to the ideologies of the early artistic avant-garde. All shown artworks can be read as (art about) Abstract Art which unfolds its political moment not before the process of its reception.