MODERN & CONTEMPORARY Frühling 2022

Ausstellung, Modern & Contemporary art, Frühling, 2022
Ausstellung, Modern & Contemporary art, Frühling, 2022
Ausstellung, Modern & Contemporary art, Frühling, 2022
Ausstellung, Modern & Contemporary art, Frühling, 2022
Ausstellung, Modern & Contemporary art, Frühling, 2022
Ausstellung, Modern & Contemporary art, Frühling, 2022
Ausstellung, Modern & Contemporary art, Frühling, 2022

In contemporary, important Austrian positions are juxtaposed with the work of international artists such as Christo, Tony Cragg and Ai Weiwei. Two impressive early works by Friedensreich Hundertwasser, "Une Journée de transit en Allemagne avec grande cheminée Fujisan" from 1962 and "Zwei Überlebende - Träume von Doris" from 1952/1964 are real highlights, as are two paintings from the 1960s by Arik Brauer, "Zwischen den Nöten" and "Notre-Dame". The work of Hans Bischoffshausen has been rediscovered and reappraised in its radicalism in recent years. "Untitled" from 1962 is an important work by this artist, who is considered one of the most uncompromising and fascinating personalities of the Austrian art landscape.

By Arnulf Rainer, undisputedly also internationally one of Austria's most important artists, three overpaintings from the "Old Master Series", created in Mallorca in 2013, are on view - reworked photomontages of erotic photographs combined with reproductions of Sandro Botticelli and Egon Schiele. The Italian Michela Ghisetti, who lives in Austria, is represented in the exhibition with work cycles that are currently also on show at the Albertina in Vienna. Karin Pliem is another fascinating artist who completes the gallery program. Her incredibly densely painted compositions are dedicated to the themes of nature and civilization.

The program is rounded off by Kiki Kogelnik's "Renaissance Head Gold" from the series "Venetian Heads I" and Maria Lassnig's canvas painting "Death is a Sphinx".

Two comprehensive, scientifically researched catalogues will be published to accompany the exhibition.

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