Maimon, Mastroiacovo, Schwebel, Celik, Kompatscher, Voronzov/ Bardolim

About

Dafna Maimon | Human Comma Being
In 'Human Comma Being' Maimon traces the question of the authentic self. Determined by a philosophical and psychoanalytical context, she interprets the self as precariously in-between, a decimal point, interruption or irritation, and presents it for discussion as an inner montage.

Thérèse Mastroiacovo | sharing location
Mastroiacovo cites and appropriates artworks by other artists, faithfully drawing them and then printing and manipultating them. "By relinquishing artistic position as it is conventionally understood, there remains an incongruity, a likeness so close and yet transformed, the repetition of the same that includes space for another." (Sarah Greig, 2015)

Joshua Schwebel | Subsidy
In 'Subsidy', Schwebel illuminates the structural hierarchies and working conditions currently accepted in the context of cultural institutions on the basis of the interns' work in Künstlerhaus Bethanien. By using the whole of his grant budget to pay interns working at KB during his stay there – who would not be paid otherwise – Schwebel makes the process into an exhibition object.

Timur Celik | emotion - reflexion
Celik is known primarily for his large-format portraits, whose style may be characterized as 'hyperrealistic'.The intense expressions on the faces of those portrayed are combined with a kaleidoscopic play of rust, asphalt and other colour nuances associated with the big city.

Florin Kompatscher | Fluss ohne Ufer
Kompatscher's paintings oscillate between their viewers' consciousness and subconscious, revealing precise formal creations among spheric colour combinations in the dynamic, conflicting field of the duality of plane surface and space.

Sergey Voronzov / Juliana Bardolim | Don't touch me
For 'Don't touch me' the artists formulated various questions, which are now visualized in the exhibition space, for example: "To what extent can the artist be touched? How does the artist respond to criticism, and who is entitled to practise this criticism? What is the significance of the public for the artist?