Eisenberger combines classical subjects of art history, ‘vanitas’ motifs that remind us of the ephemerality of existence, with elements from popular culture. The snowman becomes the grim reaper – yet is himself subject to transience. In the second picture at the exhibi-tion, the artist doubles the figure of Pinocchio, whose nose grows whenever he lies. The view in the crystal ball remains uncertain – glorious promises for the future can soon turn out to be a pack of lies. The principle of chance plays an important role in Eisenberger’s painting: ‘My [painting] technique comes from the paint itself ... you just have to let it do its thing ...’ says the artist. The momentum of the paint, its trickling and flowing, plays an essential part in the creation of the picture and is to some extent beyond the artist’s control.
HIER WASSER LASSEN, 2021
Auer investigates the toilet signs at the Kunsthaus, challenging tradi-tional gender images and divisions with her artistic, interventionist commentaries.
In October 2019 I listened to animals imitating humans, 2019
Sound and Sounddesign: Paul Remund
Building rubble and fragments of sculpture cover the floor in Martin Roth’s sound and space installation. A posthuman landscape of ruin – yet solitary pioneer plants are reclaiming the signs of humankind’s exploitation and destructive power.
'Als die Autos die Stadt verlassen hatten’ (when the cars had left the city) / Graz – around the Volksgarten park / 2020–2050
Drawing: Christian Brix
Text and narrator: Leo Kühberger
By the year 2050 there will only be a few cars left on the streets of Graz, permanently transforming the cityscape.
From the series Haus im Grünen, (house in green surroundings; Kunsthaus Graz, Albertina, Styria Media Center), 2017
The title Haus im Grünen – house in green surroundings – is a reference to property market advertisements.
Cultural Transfers, 2012
The design of these signs is based on the system of isotypes (Interna-tional System of Typographic Picture Education). This was developed in 1925 by Otto Neurath who, as a Jew, fled from Vienna in 1934.
studio ASYNCHROME (Marleen Leitner, Michael Schitnig)
An important theme in studio ASYNCHROME’s work is democratic participation.
Collage: Karen Zack/@teenybiscuit
As far as possible, artificial intelligence should eliminate human error. However, even an AI application is not totally error-free.