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Vienna's Secession opens an exhibition of works by Lisa Holzer

Time:2019-12-02 23:21wine - Red wine life health Click:

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VIENNA.- At first something disappears. The exhibition starts in the staircase to the Kabinett with a colour application that will be overlooked. The dark grey mountings of the handrails – now there are two for security purposes – disappear in the colour of the wall. They seem to hang in the air. Almost as if I could throw them towards you.

In the Kabinett the light's not on. This exhibition needs – no demands grey daylight. On view are radiant pigment prints, very colourful – I should limit the colours – almost clownish pictures – this would be cooler. They show grapes and grapes in white chocolate. The grapes are huge. I thought wine grapes go well with Austria. It is a daylight, a movement exhibition. Maybe the winter date is not the best for this.

Removing the light is a reverse movement to the addition of colour on the mounting of the rails. And yet, twice, something is being removed.

At the day of the opening, the 22nd of November, the sun will have already set by 4.08 pm. And at this time the pictures prefer not to function. They withdraw, realize themselves badly, or not at all. Anyways they are less able, fail in their being an image or at least their being exhibited, because the day is already missing. As if I could afford that. Or the darkness opens the exhibition towards something else. And you will talk about it.

Dark realities. The reality has no door. Neither does the Kabinett. Sliding doors don't count. You cannot bang them. And you cannot.., you cannot yank them open. They only save space and slide.

It was weakness that first led me to Photoshop. Absence of ideas. An exhausted leaning-against in Photoshop. Are reworked grape pictures more realistic? Deeply realistic through alienation? Photography describes a relation between light and delay. Neither make a good or tangible partner. It can be read as a figure of negativity or a medium for Aufhebung. We do not reach the grapes.

Or how passive-aggressive is photography?

The pictures hang too high. It might be that this is not true. The room is too low. An additional wall has interrupted the almost square floor plan and blocked the empty centre. Mirror panels on its back reflect as if drunk.

Parking lots are odd and cost money. Figures of sleep and of a death that is transient. It is a movement exhibition because of the weather etc. etc., the light. And because of the desire, the drive. I then want to park, pay, and go. I also thought about showing pictures of parking lots. However, the idea of parking lots – also as negatives of cars – is more satisfying than pictures of parking lots. You drive me crazy.

Au, ,winewine

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