Sonia Leimer is showing new chairs that she has developed by upcycling materials she used in a project in the waiting
area of the Arbeiterkammer (Chamber of Labor) in Vienna. Her exploration focuses on workwear and its historical
color coding, symbolic traditions, and practical requirements (orange as the color for garbage collectors; black for
chimney sweepers; white, blue, and turquois for doctors and nursing staff; green for gardeners, and so forth). By
printing a selection of photographs on these fabrics showing her hands doing artistic work in the studio — for
example, measuring, welding, or applying varnish — she not only creates usable unique objects for sitting on;
she also inscribes her own craft-based activities onto other professional fields.
Katharina Grosse is known for her painterly environments produced with the help of a spray paint gun. These take the
shape of gigantic indoor and outdoor installations — for example, on the facades or in the stairwells of
buildings. Her softly oscillating color gradations also spread across fabric, furniture, or everyday objects. In the
shop window of the gallery, a hand-sprayed, unique edition of a skateboard is shown without wheels, liberating it
from its original use value and letting it mutate into a sculpture. Through its intentional placement close to the
street, it maintains its metaphorical character as an expression of freedom and movement.
Manfred Pernice uses off-the-shelf materials like plywood panels, tiles, iron, or concrete, which he combines with
drawings, texts, and newspaper clippings to create his cylindrical or prismatically fragmented sculptures that are
reminiscent of stacked cans or containers. In this way, he provides an open system of reference that plays with
cultural codes, memories, or signifiers that are associated with a certain context.
This approach is also favored by the American artist Jessica Stockholder, who creates room-like collages or pictures
you can walk around in by combining familiar, everyday objects with odd, painted plywood boards. The small
assemblage consisting of pieces of carpet, a table-tennis paddle, price tags, and nails refers to the tradition of
the Fluxus movement, which worked toward a fluid transition between art and life and favored the artistic idea and
process over the actual artwork.
Manuel Gorkiewicz has realized an adaptation of a paper curtain that he originally folded out of US letter-size paper
during his MAK Schindler residency in Los Angeles to replace the original sliding door in the Mackey Apartments
built by R.M. Schindler in 1939 For this, Gorkiewicz developed a folding technique using the formal language
of Art Deco or Zig-Zag style, which was prevalent at the time, as a model and contrast to the De Stijl
vocabulary of Schindler’s Mackey building. By reconstructing his curtain for the barrel vault in the gallery
on Domgasse using the DIN A4 paper size, Gorkiewicz connects the history of the Austrian architect with his own,
giving R.M. Schindler, who never returned to Austria after emigrating in 1914, a symbolic presence in Vienna again.
Finally, Karin Sander radically pushes the “transformation” of our familiar mode of perception to the
limits in her treatment of everyday objects in which she employs a minimal shift in perspective. Using simple nails,
Sander mounts real fruit and vegetables on the wall at the same distance from each other. In this way, the food
becomes “realistic” sculptures. When transferred to the context of art, the uncanny power of our
cultural convention to regard objects hanging on the wall as art manifests itself. How much we have already become
alienated from our physical reality is not only demonstrated by the way eating and food is fetishized on social
media and cooking is stylized into social events, but also by the fact that the conditioning of our eyes by
photographic images lets Sander’s “sculptures” seem like three-dimensional color photographs.