Tag: expression

Hans Robert Pippal – Vienna – Austria

Hans Robert Pippal Vienna, 8th district. Theater in der Josefstadt in Winter, ca. 1975 Pastel on Ingres paper Albertina, Vienna © Bildrecht, Vienna, 2016

Hans Robert Pippal
Vienna, 8th district. Theater in der Josefstadt in Winter, ca. 1975
Pastel on Ingres paper
Albertina, Vienna © Bildrecht, Vienna, 2016

From 22 January to 28 March 2016 – Albertina
Many people know Hans Robert Pippal (1915–1998) above all for his charming views of Vienna. And indeed, it was with great passion that this perhaps “most Viennese” of 20th-century Austrian painters devoted himself to his hometown. Pippal painted representative streets and buildings like the Ringstrasse, the State Opera, St. Stephen’s Cathedral, and the Graben, as well as atmospheric scenes from Vienna’s outer districts. He was virtually unexcelled at capturing the city’s atmosphere as it changed over the course of the day and the seasons.
The artist’s entire oeuvre is characterised by the desire to catch up to international figurative modernism following the war, as well as by his struggle to arrive at an appropriate style for his respective motifs or themes.

Hans Robert Pippal Young Girl in Front of Flower Cart, 1957 Pastel Albertina, Vienna © Bildrecht, Vienna, 2016

Hans Robert Pippal
Young Girl in Front of Flower Cart, 1957
Albertina, Vienna © Bildrecht, Vienna, 2016

While Pippal’s paintingsof cities are oriented toward late impressionism, his early illustrations take after those of Alfred Kubin. And the small number of his works that deal with Christian content follow the example of Georges Rouault, a central figure of modern religious painting. The stylistic diversity employed by Pippal is by no means random eclecticism, but rather bears witness to the artists’ constant quest to find an adequate form of artistic expression for the motif at hand.This makes his artistic output a highly individual contribution to the history of modern fine art in Austria.


Parallax: The Performance Paradigm in Photography – Sidney – Australia

Heidrun Löhr, Traffic, 2001, Nalina Wait and Alexandra-Katie Macdonald at Omeo Dance Studio, Sydney. Courtesy the artist

From March 3rd to the 15th of April 2012 – Australian Centre for Photography

Parallax is a simple enough problem for photography: the image you make depends on your viewing angle. But when you add the variable of the moving body in performance, the parallax factor multiplies to a point where the camera captures something no human eye will ever see in any other way.

Heidrun Löhr, the celebrated photographer of live performance, is famous for her active use of the camera around the stage. More than documents of a vanishing work, the images open up a whole terrain of performance photography, where the gestures and expressions of subjects from all walks of life perform a sense of identity. An identity that can be as multiple and various as the positions of the camera.

Heidrun Löhr’s career began in Munich and Berlin but for over 25 years now she has worked in Sydney. Her photographs capture some of the most bizarre, outrageous and beautiful moments in experimental performance in this city.

Centre Hours

Jan Vercruysse – Gallery Xavier Hufkens – Brussels

5 of June to 17 of July
We still have to get used to thinking ‘place’ not as something spacial, but as something more original than space; perhaps, as Plato suggested, as a pure difference, yet so endowed that ‘what is not, in a certain sense, is and conversely, what is, in a certain sense, is not’.
From around 1987 till around 1994, I was involved with a work, which I developed, by its own necessity, through a series which I named Tombeaux. The reason why I named these work(s) tombeaux, in French, is that only in French, the word ‘Tombeau’ indicates, besides the obvious meaning of ‘tomb’ also a poem or a musical composition dedicated to ‘someone who is no longer here’. And, contrary to what one might commonly suppose, these dedications are most often not about ‘mourning’. They are occasions to remember someone, to send a tribute. Above all, this idea and practice of ‘tombeau’ is the expression, the concretization of a ‘dialectic momentum’ and signifies ‘memory being an active energy’.
I conceived the Tombeaux works as places for memory, where ‘memory’ is understood as ‘the human faculty of memory’.
It was clear, then, that the name – which is not a title – of these works, by their own definition, never was to be translated and that, by its / their ontological reason, the name of each individual work and of the whole series had to be named in plural, since one Tombeaux signifies any other and all other and the whole series and, consequently, all Tombeaux and the whole series signify one Tombeaux.
In 2005, I started a new work which, by its own necessity, I am developing through a series and which I name Places. Again, by its own ontological reason, each individual work has to be named in plural, since one work signifies all the other and all the other signify one.
Starting from the insight that memory is an ‘active energy’, I also want to think that we all know that the loss of the faculty of memory prepares all totalitarianism. So, I conceive these works as places of memory. Where the Tombeaux works were ‘empty’, by definition full of the faculty of memory, I feel that these new works, Places, are more conclusive – they concentrate ‘meanings’, ‘things that happened’, ‘parts of lives’. They allow and support a ‘fullness’.
The fact that their physical appearance and their presence don’t reveal at first glance and at once their content and their meaning is, of course, a matter of art.
A first group of works, Places i, is composed with the hands of the five cards of the poker card game. The image is based on ex-votos.
A second group of works, Places ii, is based on the image of commemorative plaques, often embedded in the floor of churches or found in archeological sites and where the traditional inscriptions are replaced with the four suits of the playing cards, focusing on how to define a space / place through purely visual elements and strategies.
A third group of works, Places iii, has text. I created an ‘alphabet’ whereby the characters of the roman alphabet are ‘transcribed’ into playing card suit – characters.
Jan Vercruysse

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