Künstler / Projekt
PAYER GABRIEL + N 48° 11’ 47.038" O 16° 21’ 59.259"

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Duration: 06. 05. - 17. 06. 2017

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Beschreibung - English

PAYER GABRIEL (Micha Payer, born 1979 in Wolfsberg and Martin Gabriel, born 1976 in Linz) work between the two poles of arbitrary order and systematic contingency, which, in turn can be conceived as a system whose point of departure is the reflection of the world on a micro and macro scale. In this intellectual space meteorites become emblematic of an artistic strategy. Scientific theories state that comets made it possible for the building blocks of life to emerge on earth. For the artist the meteorite is the essence of the alien in the familiar and raises the provocative question whether man is composed of “star dust”.

Their new series of works "Apologie des Zufälligen" (Apology of Chance) has evolved in the last two years within the context of these reflections. The title refers to Odo Marquard who in his homonymous text defends the notion of contingency which philosophy prefers to neglect and suppress.

Large and medium-format drawings emerge from sheets in A4 and A5 format, with an ink-based priming in various colors, creating a grid for the various pictorial fragments. Only when viewed together does a motif become visible, one that is the fragment of a larger entity. Additions or substitutions of parts create further extensions, since the artists’ works are in a process of constant permutation. The sources of their creations are physical and biological facts, historical references and citations from art history.

PAYER GABRIEL’s show is enriched with pieces on loan from the collection of the Vienna Museum of Natural History.

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On 31 January 2014 - in a lecture at Bucknell University in Lewisburg, Pennsylvania - Neil deGrasse Tyson coined the phrase "Generation Exoplanet", the definition of which he tweeted while still giving the lecture. With this phrase, he referred to the discovery of a planet outside our own solar system for the first time in 1995. The population groups of Generation Y, Millennials or Digital Natives thereby received an additional sub-category, comprising all those people who were born after 1995. Since their birth, they live in a reality, which existed a few decades previously as 'science fiction', or at the most as utopia. 22 years later, ca. 3,600 exoplanets have been discovered in our galaxy, and on 50 of these life similar to that on earth could be possible.

The artists Andreas DUSCHA, Dona JALUFKA, KERNEL, Ralo MAYER, Valentin RUHRY and Björn SCHÜLKE draw on the scientific factuality of our century and develop multiple models for dissemination. The starting point for all of the artistic considerations is our planet and its position in the cosmos, and vice versa.

In his diptych 'Arecibo' Andreas DUSCHA reproduces the message of the same name which was sent as a radiowave signal from the observatory in Arecibo, Puerto Rico, to the globular cluster M13 / constellation Hercules. The binary code was designed to provide information concerning the biology of humans and the population of the earth, assuming that a hypothetical receiver could receive the message and interpret it. DUSCHA broadcasts this data with the help of a silk-screen print in two exact images, whose black-and-white coloring and exact installation generate a positive and a negative representation.

Dona JALUFKA presents 'Sisyphus Narcissist', a half sphere of suevit, a type of rock which is created by a meteor impact, and places this on an oval Biedermeier mirror. By means of the reflection, the form is indeed increased into a full sphere, yet to the viewer it appears distorted from every perspective.

The Greek artists' collective KERNEL (Pegy Zali, Petros Moris, Theodoros Giannakis) does not establish a direct relationship to the cosmos with its video essay 'Raw Rate (New Silk Road), but instead depicts the topography of the Greek section of the New Silk Road. It is that globally contested economic zone, whose Google Earth coordinates KERNEL uses, in order to generate an automated video tour from a bird's eye perspective.

Without sound - but not mute - is the video 'Why do we see the picture of the earth so often (that we don't even see it anymore)?' by Ralo MAYER. He opposes photographs of the planet earth from space with hand-written notes, his own and foreign, established and researched from scientific-philosophical texts. He therefore creates a narrative about the history of the image of the earth, which has become a collective, visual memory.

Valentin RUHRY shows the boundaries and extents of the (in)visible galaxy in a sculpture from the L-series: the suggested curvature of the material, which appears to be star-studded, eludes the corners of the real room, in order to just about huddle up against the light barrier of a neon tube. A second sample of material lies not far away, intertwined in itself, suggestive of the dynamic of a black hole.

Is the cosmos mute? Do sounds audible to us exist? The backdrop of sounds, which immediately awake a corresponding association, is generated by the Theremin. Björn SCHÜLKE uses the sci-fi cult object as the basis for his sound sculpture 'Supersonic #6', which is formally reminiscent of a robot-insect or a landed flying saucer, and which communicates with the passers-by.

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Galerie
installation view<em> PAYER GABRIEL</em>, 2017MICHA PAYER + MARTIN GABRIEL<br /><em>Apologie des Zufälligen</em>, 2016<br />china ink and pencil on paper<br />297 x 210 cm<br />MICHA PAYER + MARTIN GABRIEL<br /><em>Apologie des Zufälligen (+/-)</em>, 2017<br />china ink and pencil on paper<br />59,4 x 42 cm<br />installation view<em> PAYER GABRIEL</em>, 2017MICHA PAYER + MARTIN GABRIEL<br /><em>Apologie des Zufälligen/Kosmische Zwangsläufigkeit #1</em>, 2017<br />china ink and pencil on paper<br />148,5 x 126 cm<br />MICHA PAYER + MARTIN GABRIEL<br /><em>Apologie des Zufälligen (Begegnung im Walde 01)</em>, 2017<br />china ink and pencil on paper<br />59,4 x 84 cm<br />MICHA PAYER + MARTIN GABRIEL<br /><em>Apologie des Zufälligen (Begegnung im Walde 02)</em>, 2017<br />china ink and pencil on paper<br />89,1 x 42 cminstallation view<em> PAYER GABRIEL</em>, 2017MICHA PAYER + MARTIN GABRIEL <br /><em>Apologie des Zufaelligen Doppelgaenger 2</em>, 2017<br />china ink and pencil on paper<br />29,7 x 63 cmMICHA PAYER + MARTIN GABRIEL <br /><em>Apologie des Zufaelligen Doppelgaenger 4</em>, 2017<br />china ink and pencil on paper<br />29,7 x 63 cmMICHA PAYER + MARTIN GABRIEL <br /><em>Apologie des Zufaelligen Doppelgaenger 6</em>, 2017<br />china ink and pencil on paper<br />29,7 x 63 cmDONA JALUFKA <br /><em>Sisyphus Narcissist</em>, 2014<br />suevite rock (meteorite impact breccia), Biedermeier mirror<br />30 x 23 x 8 cm<br /><br /> installation view<em> N 48 11 47.038 O 16 21 59.259</em>, 2017KERNEL <br /><em>Raw Rate (New Silk Road)</em>, 2014<br />HD video with sound<br />11:22 min  <br />Ed. 1 + 1 a.p.<br /> BJÖRN SCHÜLKE <br /><em>Klangskulptur Supersonic #6</em>, 2017<br />fiberglass, steel, lacquer, theremin electronics, sensor, speaker<br />45 x 32 x 18 cm<br />Ed. 2/3 + 1 AP<br /><br />installation view<em> N 48 11 47.038 O 16 21 59.259</em>, 2017ANDREAS DUSCHA <br /><em>Arecibo</em>, 2016<br />ink print through on paper<br />150 x 100 cmANDREAS DUSCHA <br /><em>Arecibo</em>, 2016<br />ink print through on paper<br />150 x 100 cmRALO MAYER <br /><em>Why are we seeing a photo of the whole Earth so often (that we do not see it any longer at all)?</em>, 2012<br />single channel hd-video, 1080p without sound<br />33 min<br />Ed. 2/6 + 1 AP

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