Uncanny Norms - 2020

 

The 36 square paintings, specifically done for my diploma, balance attraction and deterrence. Disgustingly curious. Curiously disgusting.

Thematically the paintings position themselves between horror-, pop- and counter culture.  The square format and amount was influenced by my previous series.

The paintings were exhibited in January 2020, at the University of Applied Arts in Vienna.

Finale - 2019

 

A three painting series of being in a strange place, questioning oneself.

Christiane Sandpecks last official exhibition at her Galerie in Vienna..

Ein ECHTER Indianer - 2019

 

Solo exhibition at Galerie Sandpeck, Vienna.

 

The Essence - 2018

Class exhibition dealing with the subject WAITING.
Ehem. Expositur - Vordere Zollamtsraße 2, Vienna

Class exhibition dealing with the subject WAITING.
When dealing with the theme of waiting I found myself frustrated by the subject's nature.
I started looking for a more fun approach and found it here:

There's a kebab place right at my subway station's exit.
I only ever get kebab when going up the escalator
and the meat looks really crispy. Sadly it rarely does when I pass hungrily.
Usually it looks cooked white, maybe a little raw. I've not eaten kebab
more often than I did. If I could only wait.

I built a faux kebab that would spin at adjustable speed. Forever half crispy half raw,
with a kebab knife stuck in the sand next to it.

Somewhere in there slumbers a perfect metaphor for what it means to wait, I'm sure.

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Common Fandom Terms 

 

University for Applied Arts, Vienna 2018
Group exhibition curated by Titania Seidl

Wir alle mögen etwas, manchmal mögen wir es so sehr, dass wir auf das Symbol mit dem nach oben zeigenden Daumen drücken. Dieses inflationäre Mögen ist steigerungsfähig, manchmal fangen wir an, uns genauer mit den Dingen auseinanderzusetzen. Und manchmal steigert sich unser Mögen bis zur Obsession. Wir werden zum Fan. Fans sind Amateurinnen, Experten, werden zu Co-Autorinnen und Kritikern. Organisiert in digitalen Stämmen mit einer ausgeprägten und unnachgiebigen Diskussionskultur nutzt der Fan den Gegenstand der Obsession zur eigenen Identitätskonstruktion. Und diese Obsession kann von Verehrung in Hass umschlagen...

Text und Kuration von Titania Seidl


mit Arbeiten von
Veronika Beringer, Merlin Dickie, Katerina Dimitrova, Lorenz Kunath, Jiyoon Lee, Carina Luksik, Rosa Michor, Amelie Schlögelhofer, Sophie Vitovec, Felix Weisz.

Klasse für Malerei und Animationsfilm
Oskar-Kokoschka-Platz 2, Ferstl Trakt, 2. Stock
02. 10. 2018

Phantoom
Phantoom

30 x 40cm, 2018

Phantoom
Phantoom

30 x 40cm, 2018

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Die Ahnung eines größeren Gefühls 

ORF Radio Kulturhaus, Vienna 2018

Groupexhibition featuring paintings made for this show by the Class for Painting and Animation at Universität für angewandte Kunst.
I presented two very different paintings of which one is shown on the photo.

The university-organized exhibition provided the canvas for these two very different works.
mp3.5 is a roughly painted surface with different wavelengths in different colours. Behind fabric a pocket radio is mounted to the stretcher, set to a volume that should make viewers lean in close to the painting, ideally averting their eyes in favour of their ears being able discern the white noise coming from the radio.

mp3.5
mp3.5

80 x 13cm, 2018

Hear-Say
Hear-Say

80 x 130cm, 2018

Photo by Gabriela Dickie

mp3.5
mp3.5

80 x 13cm, 2018

1/3

ENTWEDER/TROTZDEM 

 

Galerie Time, Vienna 2017

Great duo exhibition with Lorenz Kunath.
We were showing a small selection of paintings from that year.

Photo by Burhgard Unteregger

1/1
 

Donne Dimenticate 

Haus Wittgenstein, Vienna 2017

Groupexhibition on the topic of forgotten women in art and the universities anniversary.

Sophie Vitovec and I created this piece (Sophie painted a large canvas with white paint using my body as a brush.) and its framed documentation (to the right) in order to achieve a clear translation of the problem posed by the shows theme, open up discussion on the subject of the macho artist but also to address the future in form of settling dust, therefore improving visibility as a symbol of a fate in positive change with time.