Karin Pernegger Livres

An exploration of the realities and potential of the state's agonistic practices in response to service delivery strife from 1996 to the current day in Johannesburg.

accompanying catalogue of painting exhibition at the Austrian Cultural Forum, New York

The Kunstraum Innsbruck presents the first solo exhibition by the German artist Olaf Metzel (b. 1952) in Austria. Metzel made a name for himself with his interventions in public space, which in the form of very direct reactions reflect the political and social goings-on of their respective time. His works mirror the status quo of German society after the war. Early on in his career, he dealt mainly with the recent past of his country, such as the politics of the Senate in the still divided Berlin, Stammheim prison and the RAF, or the racism pervading politics and society. 00Metzel’s artistic practice bears testimony to his radicalism, introducing destruction as an aesthetic programme into his sculpting technique. The concept of interaction with space, time and movement the artist translates in his sculptures into a direct dialogue with the observer, in order to let art literally participate in life, to let it grow out of life, as it were. Metzel understands his artistic impetus as a gesture from "below", aiming to create art that is not just for an elitist group. With his direct language, which he communicates immediately into public space, he deliberately steps across boundaries and provokes dialogue and protest. 0Exhibition: Kunstraum Innsbruck, Austria (06.02-28.03.2015).

To conduct an 'Experiment in Vivo' (Lebendversuch), is to consider something under real-life conditions. The title refers to a core notion in Jonas Burgert's work. The painter's visual narratives appear strange and enigmatic, but their emotional subtext is conveyed to the viewer directly. Burgert is able to condense the marks of painting, often on very large canvases, to human figures of great urgency that are physically experienced. Peculiar characters such as warriors, beggars, shamans or harlequins inhabit his stage-like pictorial spaces. Occasionally visitors in everyday dress have sneaked in, struggling to understand what is going on. Huge existential questions on the meaning of suffering, death, life, love, violence, and power are touched on, but find no answer or appeasement. The visual narrative is ultimately based on precise and detailed composition, executed with great craftsmanship. The blotchy and dripping application of paint time and again flows seamlessly into representations of traces, footprints and pots of paint. As such he makes painting the subject of his painting and simultaneously manages to create a world of illusion of the highest suggestive power. English and German text.