"Kunstpost" Project

Artists are invited to create motifs for postcards in a limited edition.

Photography

Lukas Dostal (2013)
Anita Fuchs (2013)
Martin Bilinovac (2012)
Daniela Beranek (2012)
Alexandra Gschiel (2011)
Lupispuma (2009 / 2010)

2013, Gerlind Zeilner

To this effect the methods are mixed (and that is what it is about ultimately - as...): The illustration of the action with the action of the illustration (the astounding thing: We observe the described action, but we do not know exactly, where we should look first, to follow the description respectively. ...), the description of a room with the marking of the hand, the exchange of local color and the mood complexion, the equalization of affect and angle of the forearm to the canvas, the memory and the condition of the pigment paste, the Want and the Should - in short: Everything as usual? Has this not always been that way? No.
Because, the true oddity of these paintings is not the in fact not comprehensible materialism of the substance (Raphael and so on.): How does something transform from something to something. And why. The blurring of the interference, the modification of the known, the attentive listening (there! in the middle softened black...), as the down tuned "content" (everything is clear: salon, kotoplayer, tea ceremony, corny joke everywhere, impressive colors, and so on.) - everyone knows that. - But why that is so plausible and odd, is the only possible question. As sloppy as well as exaggerated it would be to say: Do you know something better? Because: "Do not despise the snake because it has no horn, for who is to say, it will not become a dragon." Who the snake is, is obvious. Therefore here the dragon.

2012, martin schnur

It may be surprising because of the quality and perfection of the artwork, but Martin Schnur did not study painting. His education was in the art of sculpting, painting he taught himself. A memorable experience for him was the encounter with Sol LeWitt, the American master of concept art. Different levels of reality, artfully put together to a whole, are a characteristic feature of many paintings of the Austrian artist Martin Schnur. the finesse, how Schnur manages to put together different motives to a whole painting, but still leaves them seemingly autonomously, is a great part of the excitement and allurement of his compositions.

2011, Markus Wilfling

With his art Wilfling aims at visually and virtually penetrating spaces, surfaces and planes and at reducing laws of statics to absurdity. His work is about the irritation of conditioned imaginings and definitions of perception. Reality becomes unpredictable and uncontrollable, seeming and being, virtuality and reality as well as the imaginary and the concrete-objective merge. The boundaries between interior and exterior, top and bottom, closeness and distance, from which he generates unexpected spatial dynamic movements, seem to disappear. (Hartwig Knack, Raum, Wahrnehmung, Bewegung In: Markus Wilfling, zwischen dem Raum 2009, publ.: Bibliothek der Provinz)

2013, Ronald Kodritsch

Ronald Kodritsch and the classical period. Playful thinking and experimental attitude are essential aspects of art of the past hundred years. Especially playful things are used as strategy to modify artistic decisions and undermine the expectations of the recipient. Furthermore Friedrich Schiller´s citation applies: "... the human is only playing, when he is in the full meaning of the word human, and he is only human, if he plays." For Schiller it is the playful shich provides the basis for the art and the life and ever since Johan Hizinga´s book "homo ludens" we know that culture emerges from play. Through repetition, variation and new realization experimentally tested becomes the guideline and transfers to a form of culture. This also means as a final result, that the playing cannot be seen as the work of a constituent element of culture. With this in mind there is only one left to say, to call out to the hotel guests with Ronald Kodritsch: "Faites vou jeux!" (Place your bets!)

2011, Manfred Erjautz

Familiar things are called into question and referred to different emotional levels in a sociological “experiment of crisis”. The dominant emotional area which is being touched on is melancholy. Melancholy surfaces in Manfred Erjautz’ art both as a reminiscence to another – probably better – time as well as a longing for happiness and ‘renormalisation’ of conditions. (Falter 2006)
Augarten Hotel