Art and Design at Hotel Kristiania
Meet the artists
Art & Culture at Kristiania Lech. This winter season is a visionary art & culture project celebrating contemporary art. The focus is on supporting the local community, bespoke art, music and dance performances. "Meet the Artists" is a unique opportunity to mingle with the oeuvre of artists we love and recommend and meet some in person.
Vanessa Henn
Vanessa Henn’s installations and objects combine formal reduction and playful wit; she draws her motifs from everyday culture and from her perceptive observation of public space and the situations that result in it. She is particularly interested in various functional and stylistic elements in architecture that serve to guide and regulate the flow of public space, such as pedestrian bridges, railings, and signposts.
Filderbahnfreunde-Möhringen FFM
Since its founding in 1999, the Stuttgart-based artists' group Filderbahnfreundemöhringen FFM has been causing surprises in exhibitions with concepts that are as radical as they are humorous. In their exploration of materials, spaces, titles and animals, the FFM move quite consciously and yet with ease on the double ground between platitude and profundity. In the process, word games are pushed to the limit, clichés confirmed and roles are undermined. Whether curators or exhibition visitors, mothers or politicians mothers or politicians, sheep, pigs, mice or maggots, no one can be sure of anything. sure of themselves. Between potential slapstick and collateral real-life satire, between confusion and and insight, much is possible and often impossible.
Herbert Egl
If we try to understand Herbert Egl’s paintings on their own terms—self-referentially, as it were—they can be said to derive from an attitude from the early years of his work as an artist that could be described as “lyrical abstraction.” His works remain lyrical and abstract, but their hetero-reference has drastically increased in recent years. Egl’s paintings are abstract, but they are not what has been, in the wake of abstraction, called nonobjective painting. His paintings always have an object; they establish relationships to a wide variety of micro- and macroscopic systems of reference.
Nina Rike Springer
* 1976 in Klagenfurt, AT
lives and works in Vienna.
2001-07 studied photography with Prof. Gabriele Rothemann, Institute for Fine and Media Art, University of Applied Arts, Vienna.
2004-2005 study visit at the Bauhaus University, Weimar / Germany.
2007 Diploma with Gabriele Rothemann, Photography and Media Art, Institute for Visual and Media Art, University of Applied Arts, Vienna.
2011 lecturer at the University of Applied Arts, Vienna.
Dave Bopp
Dave Bopp's paintings are large-format all-over paintings whose traces and layers condense into different aggregate states. It is a kind of primordial soup that, however, marks no beginning - and certainly no end. Instead, Dave Bopp captures the simultaneity of expansion and implosion in his paintings: contoured shadow cracks collapse in the groundless and horizonless pictorial space, foreground and background dissolve, only at the edges of the picture does this eruptive painting reach its physical limits. The artist always tries to wrest the development of his pictures from the material, to interweave the familiar with the unfamiliar, whereby this principle does not elicit a conclusion, but rather generates a surplus of probabilities and leaves the viewer to his own devices in bittersweet disorientation.
Sven Braun
Sven Braun draws frames that are not frames. He lets stretcher frames shine through under canvases as if they were transparent. The Leipzig painter plays a subtle game with trompe-l'œil - that is, with the artistic mastery that leads us to confuse appearance and reality or to mistake one for the other. And yet one would not be doing justice to Sven Braun if one were simply to accuse him of deliberate deception.
Wolfram Ullrich
Art needs the viewer in order to concretise itself. Concrete art, too. In this constellation, it has the possibility of remaining entirely within itself and relying on the persuasive power of the factually visible. But it can also open itself up to the viewer by taking the premises of concretion to heart and yet conjuring up an emphatic illusionism. Wolfram Ullrich has increasingly opened up his artistic work in this direction in recent years.
Stefan Zsaitsits
1981 geboren in Österreich.
2001 Universität für angewandte Kunst/Wien, Bildende Kunst
2006 Diplom
Károly Keserü
Károly Keserü is best known for his rather minimalist works that take a new approach to geometric painting and drawing. The methodical and critical potential in his work accurately and sustainably address and review the legacy of Modernism and Post-Modernism in the digital age – one of the gallery’s core areas. In his search for a balance between the physical and metaphysical, between system and chance, Keserü draws inspiration from Eastern and Western philosophy, folk art like embroidery and Aboriginal and in particular music. Keserü then translates these influences into a creative practice that is both experimental and transformative.
Astrid Köppe
When we see, we see subjectively, that is, it is uncoupled from our other senses, we see selectively, we let moods and experiences decide what we see and how and where we place what we see in our lives.
Astrid Köppe's drawings and enamel works move precisely in this transit space, as if conceived by an eyelash and painted by a second eyelash, what is still organic, where does the filigree assertion manifest itself to the no less filigree reality, interpretations remain fluid like our gazes waiting to see. [...]
Perhaps a tree has been watching, and it rustles, it knows more than we do, and this knowledge, that is the art of Astrid Köppe. And now she smiles.
Gerald Moser
Interdisciplinarity and complex multilayers are the main characteristics of Gerald Moser's integral works. His project-specific identity shifts from artist to curator to exhibition designer, explaining his focus on a dialogue between genres. Aiming to enable new ways of perception and point of views, he dismisses all labels as well as the blank and non-obvious: In the midst, he establishes a field full of tension yet a room to be filled with one's experiences.
