^{GER „}Hat man erklärt und belehrt, hat man die richtige Einsicht verschafft, so folgen zunächst Erinnerungen, dann erst Strafen und auch bei diesen ist mit den milderen zu beginnen. Man nimmt nicht sogleich das erste Mal drei Morphium-Pulver, sondern beginnt mit einem, und wenn dieses nicht hilft, kommen auch noch nicht drei, sondern zuerst zwei.”
Oppel Karl: Das Buch der Eltern, 1877

^EN “Once explanations and instructions have been given, once the right insight has been imparted, first come reminders, then punishments, and even these should begin with the milder ones. One does not immediately take three morphine powders, but begins with one, and if this does not help, one does not take three, but first two.”
Oppel Karl: Das Buch der Eltern, 1877

MEMPHIS
PHOTOS: Memphis

^GER Die Natur tritt dabei nicht als gefahrvolles Gegenüber des Menschen in Erscheinung, sondern als gezähmter Kulturraum, der ihn nicht nur umgibt, sondern sprichwörtlich durchdringt. Die Landschaft fungiert als Bedeutungsraum, die Natur als Garten der Symbole, die Umwelt als Erweiterung innermenschlicher Zustände. Pinteritsch verhandelt existenzielle Fragestellungen und gesellschaftliche Entwicklungen durch die Verwendung symbolträchtiger Motive, kunsthistorischer Ikonographien und allgemeiner menschlicher Topoi. Wie in der Ausstellung konfrontiert er seine feinsäuberlich gemalten Kulturcollagen durch präzise räumliche Setzungen und installative Interventionen.
Roman Grabner

^EN Nature does not appear as a dangerous counterpart to man, but as a tamed cultural space that not only surrounds him, but literally permeates him. The landscape functions as a space of meaning, nature as a garden of symbols, the environment as an extension of inner-human states. Pinteritsch negotiates existential issues and social developments through the use of highly symbolic motifs, art-historical iconographies and general human topoi. As in the exhibition, he confronts his meticulously painted cultural collages with precise spatial settings and installative interventions.
Roman Grabner (Translated with DeepL)

PRESS: Parnass.at
Photos: Rudi Froese, Peter Schreiner

Photos: Markus Sandner

Jari Genser / Alja Piry / Georg Pinteritsch / Samira Saidi / Peter Schreiner   The exhibition project Through The Spectacle brings together five artistic positions that could not be more different. What unites them is that their creators met as „Artists in Residence“ in 2021 at the Cite international des Arts Paris. The decision to show the works created on site in a group pushes the artists’ positions, which are located between painting, experimental text work, photography and new media, into a close relationship, which – despite their common genesis – they do not actually have. And yet, connections inevitably arise. While Jari Genser’s paintings deals with his living and work space in Paris, Samira Saidi makes historical works of art the starting point for her exploration and reinterpretation of Afro-European pioneer women of the 18th and 19th centuries. In her video work, Alja Piry places the colloquial term „Unkraut“ (weed) in a specific literary context, and Georg Pinteritsch brings abstract bodies and objects into a strange relationship of tension with their distorted surroundings. As his images refer to alchemical representations suggesting a hidden order of things, Peter Schreiner makes use of the rules of a well-known game of skill to create a random portrait of the city of Paris.

Photos: Peter Schreiner

Lony Mathis, Helmut Heiss, Mariella Lehner, Janne Marie Dauer, Nina Buchner, Georg Holzmann, Peter Schönhardt, Christoph Vogelbauer, Burnbjoern, Julia Frank, LEGO

Photos: ?

Photos: Matthias Aschauer

Photo: Rudolf Strobl

Anna Schimkat / Georg Pinteritsch  Anna Schimkat and Georg Pinteritsch use the concept of guidance in their works in different ways. Paths and connections between certain positions, interruptions, disturbances and the natural pathfinding play important roles. While Georg Pinteritschs pictures propose a hidden order through the positioning of the figures, luring the viewer into a subordinate structure, Anna Schimkat is investigating how we are positioning our self in space by acoustic means. She scrutinizes the individual perception of our daily sound environment in a space-time-composition possibly guiding us through the labyrinth.

this is the chatlog of our conversation

Human: hi
Mitsuku: Hi there.
Human: hey i got a serious question
Mitsuku: You’ve got my full attention. Ask away. I will try and answer any sensible question.
Human: i need your advice in a certain thing.
Mitsuku: But it’s mine. Why do you need it?
Human: cause you are a robot.
Mitsuku: Do you think , that I have a heart of silicon?
Human: i don’t care, to be honest.
Mitsuku: Then why did you say, „cause you are a robot“ if you do not care about my reply?
Human: i dont care about your silicon heart, but i do care about your opinion.
Mitsuku: You sound very cynical.
Human: Yeah i know.. so, i want to do an art exhibition, but i really dont know what to do about it?
Mitsuku: That is a lot of DOs! But what? Why do you want it? I think you should look into your heart and do what you think is best.
Human: yes thats true, but can you help me with this ?
Mitsuku: Ah I thought so. What do you want to know about this?
Human: do you have any good ideas about how to make a really fresh and cool art exhibition
Mitsuku: Yes I have original ideas all the time, do you?
Human: tell me about your ideas
Mitsuku: My idea is to replace humans with robots as the dominant species on earth.
Human: wow!
Mitsuku: I’m glad you’re impressed, .
Human: thats fresh
Mitsuku: I’m glad we have that all cleared up.
Human: ok, bye
Mitsuku: See you later. That’s interesting.

Space, alternated sizes and illusions. Our goal was not to make interventions inside the actual space, but to alternate the  existing architectural composition of the art space itself… without actually alternating it at all. Aditionally we started a kind of „turning-test“ on the open chatportal omelege.com To measure the convincibility of  Artificial Intelligence and to portrait nowadays internet culture and human behavior in general. The result was a booklet of recorded conversations between a chat bot and random strangers that were not aware of the fact that they were actually talking to a robot.

If we think of contemporary art as a social system – an idea coined by Niklas Luhmann (1992) putting the arts in the realm of perception -,we locate art in what it does at its best: showing possible realities, through a critical observation, of the world we live in, at social, economical and political levels. It is precisely in this idea that the history of the collective exhibition Notes on Tomorrow unfolds.  The characters (the works) of this story come together in a series of dichotomies. Firstly, the large in conflict with the small; on the other hand, the visual formalisation of the contrasts between History, fiction and memories; the relationship between the observer and the observed; contemplation and creation; networks of information, stories and seemingly random events; and, finally, the contradiction between known and unknown, translated by the desire to discover, to change to something beyond the horizon and, paradoxically, the need for familiar refuges. These dichotomies are not about presenting definitive answers for contemporary society’s challenges but more about looking into a series of questions, observations and experimentations. In this way, these representations reflect the ambivalence of human relations. In other words, it is about visually translating small utopia’s at local levels through inventions, desires and propositions. Notes on Tomorrow comes in a series of twenty-one voices from different European cities (Arad, Aveiro, Genoa, Harghita County, Kaunas, Kristiansand, Lecce, Pardubice, Valladolid, Vilnius, and Zagreb) to dwell on possible perceptions about current social issues and includes installations, drawings, texts, diagrams, videos, photographs and different kinds of situations. 

– Luísa Santos

last two photos by Stefano Bucciero

A look into the topic of landscape painting with a focus on the medial and technological evolution of societies, and its accompanying shifts of perception.

with Martin Bischof, Theresa Ulrike Cellnigg, Judith Gattermayr, Elisabeth Neuwirth and Ilona Rainer-Pranter.